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Editor’s Notes

Milestones in my life, (big and small) have never really been dictated by this
magazine. Instead, the magazine tends to be dictated more by what is going on in
my life outside of it. Usually, this is tends to affect everything New Scheme-related a
negative way. Work, school and just about everything have seemed to take precedent
over magazine work for most of the six years I’ve been doing it. This struggle to
make time for something that I continue to have the energy, but not always the time
for is always frustrating. Then, I always end up putting together every issue in one or
two aggravating late night orgies of editing and layout. These bursts of productivity
tend to happen at least a month after every issue was supposed to be done. Everything gets done in a half-assed way, though I don’t usually have too much choice.
Thankfully, there is a light at the end of the tunnel for me as of a few days
from now. In a classic stroke of bad timing, I’m scrambling to finish these editor’s
notes so I can send this issue to the printer. It’s Monday morning, and I have to get
this to the printer in the next half hour. On top of that, I have no less than three final
papers I should be writing for school. The good news? This is the last goddamn time
I will ever have to juggle this, or anything else with school. For the last four (alright,
four and a half ) years, I’ve been muddling my way through college. To this day, I’m
not sure exactly why I went, though I’m glad that it’s over. Maybe someday I will
be glad I have that political science degree. Maybe someday I will pay of my tens of
thousands of dollars of student loan debt. But regardless, in just over 48 hours I will
be done spending any of my precious time on schoolwork.
Being finished with school means a few things for me, and all of them are
good. I will be able to work enough to actually support myself and still have free
time. I can finally move away from Boulder in a couple months and away from Colorado not too long after that. But more immediately, I will be able to put an adequate
amount of time into everything New Scheme-related. This will mean a few things.
First and foremost, I am accelerating the schedule that new issues will come out. I
have always aimed to put out an issue every three months, though it ends up being
every four or almost five months. Now, I can actually stick to a schedule. Next issue
will be out in just under three months. After that, I will be doing a strict quarterly
schedule, or possibly moving to something bi-monthly if it seems feasible after that.
Also, since I won’t be scrambling to finish every issue at the last minute, the whole
magazine will be redesigned from the ground up. This will start with the next issue,
though I’m not sure exactly what form it will take. Some things will look very similar,
others will look way different. I will also be focusing a bit more on the digital version,
embedding much more content into the PDF file. This will originally be expanded
use of the web links already included, though there will be sound files beginning with
the next issue as well.
In short, a lot is going on: I’m done with school, getting a long-overdue
change of scenery and finding the time to dedicate to this on a regular basis.

Fucking finally.

-See you August 1st (for real).

Ryan Canavan
Open Your Eyes and
Take a Look Around
With all the stressors of daily life for most people it becomes hard to
concern oneself with what’s going on outside the immediate sphere of
work, home, family, and friends. And most folks probably just don’t want
to deal with the reality of a world plagued by problems.
But I personally cannot understand how most people can simply
remain complacent, or not be upset when they read the paper, or see
the news. It’s such an easy thing to simply explore what’s happening at
home and in the world, and question what is causing all this trouble. And
it’s easy to get angry too. It should not be too much of a task to ask any
person to subscribe to these emotions. Getting mad at the world doesn’t
take much effort.
The difficult part comes in what to do with that anger. Because, once
again, it is easy to read about something, get angry, and then just sit on
one’s laurels and forget about it all. Taking action is so difficult for most,
but it doesn’t have to be. Maybe you realize you’re working for a multinational corporation that promotes slave labor in third world countries.
You could always quit your job, though for a lot of people that might
not be an option because everyone has to get by somehow. But you can
always use your awareness of the companies policies and spread that info
to people and organizations that can expose this, hopefully promoting
some change.
You can witness footage of innocent people eating our bombs over in
Iraq and get upset about it. What can you do about that? It might be kind
of hard to jump on a plane headed to Baghdad and stand in the path of a
cruise missile. But something as simple as donating to a group like Voices
In the Wilderness, who illegally venture into Iraq and provide medicine
to children and families suffering in the wake of imperialism’s iron fist,
isn’t a bad start.
And, most importantly, the best way to affect change (and sometimes
the easiest) is on the local level. You may not be able to stop the factory
farm argribusiness monstrosity, but inviting your meat-mouth friend
over for an awesome vegan dinner may open their mind to the benefits
of a cruelty-free lifestyle. And alone you can’t keep that Wal-Mart from
opening in your town. But rallying local business owners (who would
otherwise see their doors close for good in the wake of another ‘big box’
opening) will result in hundreds, if not thousands, of sympathetic locals
supporting the cause and overflowing town hall meetings with a plethora
of ‘no’ votes against these corporations.
Change can happen. Things can get better. It just takes a minute
amount of effort and a little anger. At this point I’d like to present a small
list of things that hopefully will get you angry, as well as an accompanying list of resources for taking action against these injustices.
1.) Wal-Mart lobbies Congress to keep the minimum wage lower
while thousands of their employees are forced to go on welfare (due to
not being able to afford the cost of living) at Wal-Mart’s urging, and at
the cost of taxpayers. Also, the White House recently appointed a lawyer
who represented Wal-Mart in the nations largest class-action lawsuit
in history to head up the wage and hour division of the Department Of
Labor.
What can you do? Go to www.walmartwatch.com to get an encyclopedia’s worth of info and counter-tactics to use against the corporate giant.
Also, watch Wal-Mart: The High Cost Of Low Price (www.walmartmovie.com)
2.) Factory farms are local ecosystems’ biggest polluters (surpassing
industrial factories). One hog farm in North Carolina produces as much
waste as all of Manhattan. The waste gets into local water systems that
cause fish to die, bacterial growth (which can cause human infections), as
well as the introduction of agribiotics (used to sustain animals on these
farms) into local water systems. These, in turn, lead to more resistant
forms of food-borne pathogens affecting humans.

What can you do? Go vegan. Stop this inhumane treatment of other
creatures and stop treating your own body like shit with the disgusting
food you fill it with. At the very least, check into where your food comes
from. Read labels, buy organic instead of processed foods if you can
afford it. Contrary to popular opinion a healthy vegan diet can be a lot
cheaper, as well as really good for you.
3.) Over 100 Iraqi civilians die each day, as (to date) over 40,000 civilians have died since the U.S. invasion in 2003. This doesn’t even count
the over 500,000 children and adults who died as a direct result of U.S.
sanctions between 1991 and 2001 (that deprived people of basic needs
like first aid). They die for no reason other than for an empire based on
greed and control.
What can you do? Check Voices In the Wilderness (www.vitw.org and
www.voicesuk.org) to see how you can directly help suffering children
and adults in this region. Additionally, and if this is up your alley, become
a war resister. How? It is the taxes we pay from our jobs on a daily basis
that go towards building more bombs. Quit your job, or take a job that
pays ‘under the table’. It’s not terribly realistic for most, but for some of
the more frugal amongst us, it is. The less money the government gets
from us the less the war machine rolls forth.
And if you want to get really pissed... I mean more pissed about a connection between a national tragedy and a lot of bombs dropping in the
Middle East go to www.whatreallyhappened.com/oil.html
It certainly raises some interesting questions. Then, contact any local
government officials (your representative or senator), expressing your
displeasure with U.S. involvement overseas, attach the info you read on
this site, and um... get no reply. Haha. Hey, they can’t ignore 1,000 of
these messages can they?
4.) That coffee you drink is shitty. Due to the great minds that
brought on NAFTA comes CAFTA (Central American Free Trade
Agreement), which claims to benefit all nations with better trade opportunities. In fact, it simply gives U.S. companies corporate rights over
poor nations, trumping human rights, worker rights, fair trade, and basic
human rights in the name of profits to them and loss of jobs for Americans.
What can you do? Buy fair trade coffee always. It’s more ethical and
tastes a hell of a lot better too. Oh yeah, and don’t get mislead -- Starbucks does NOT promote fair trade coffee. About 1% of the coffee they
buy is fair trade and just mixed in with the regular stuff, but this way they
can market it as ‘fair trade’. Fuck these bozos and don’t support their
shitty business. Their business is the business of monopolizing and causing small local business to go OUT of business.
Additionally, buy locally. Support local farmers... or try growing your
own garden! Check www.globalexchange.org for more info on this.
OK, so hopefully you’re good and pissed now. And hopefully you’ll
think twice about your actions because every dollar spent is a vote.
Remember that. Think about who you’re buying from. Think about your
day-to-day interactions. Keep in mind that governments and the corporate entities that use them rely on disinterested and complacent people to
keep them in power. If you’re asking questions and exercising freedom of
choice than it’s already a good start. And if enough people are questioning and sharing these revelations than the greedy and the evil will suffer,
and will realize the folly of their ways.

Sam Sousa
Notes from the
Lost and found
The old man walked by with his missing teeth and ratty grey hair
holding up the picture disc with the Mammy chasing the Sambo in
circles ingrained in vinyl. “Hey you guys lookin’ for a racist record?”
and then he smirked and laughed to himself opening his mouth a
little wider and exposing us to the decay of his pathetic existence.
He’s a common feature on the record collecting scene, and the one
feature that shoots chills down my spine. It’s not the racist aspect,
although believe me that carves out its own fear, especially for a
dumb white guy like myself looking for jazz records. It’s the so lost
in collecting mindset that you forget about music that shakes the
shit out of me.
Collecting isn’t really about music for many of these guys; it’s
about owning something that other people don’t own. That’s why I
flip through $1 to $5 bins and see amazing records like “American
Beauty” or “Nilsson Schmilsson” kept in crap condition, they don’t
give a damn about one note being played, only about how rare it is
or how much money it can make them. That’s how these guys go
from collecting Elvis merchandise to Soul 45’s to Blues 78’s to black
face memorabilia. Believe me there’s a short distance between owning an old Sonny Boy Williamson single and owning a picture disc
with a “Coon” cartoon etched in it.
A week before at another show in Orange County and I found
several punk vendors schlepping classic records for an insurmountable amount of money (Oddly enough the guy hawking surf records
had a copy of the In/Humanity album buried in the back). They’re
asking for the kind of cash that makes Strummer turn rotisserie in
his casket. Don’t get me wrong Sham 69’s “If the Kids are United”
is an awesome song, arguably one of the best punk songs written,
but $30 for the forty-five, well that’s divisive capitalism if I’ve ever
seen it. But somebody bought it along with a $20 Business single
and a $14 Mad Parade record I recognized from my youth. This is
the kind of crap I would come across in a $1 bin, look & laugh at,
then feel pity for, and finally pass up all together. Maybe that doesn’t
make me punk and maybe it even makes me a little bit of an asshole,
but the bottom line is bad music is bad music. For a leather-clad
dude though, this is the find; he’s just entered a punk vinyl heaven,
where terrible three-chord songs are fifty bucks a dozen. Can I
knock him? Yes. Should I? Maybe not, maybe some people have to
pay an exorbitant amount so I know not to.

My point is this: I used to be obsessed with collecting Locust
vinyl, getting all the colors and all the shapes possible. Then one day
I woke-up and realized I don’t like this band, I never really did, and
I never really will. So I sold them in super lot for forty bucks across
the pond and now I only buy records I will listen to. Not records
that look good in a collection or give me some sort of non-existent
advantage/credibility over another moronic consumer. I buy Palatka records because they’re thrashtastic, I buy everything Molina
because it sounds good, I’m bidding on Young Pioneers records because the music is undeniable & they’ll look good in my collection.
I don’t own a limited version of the Swing Kids record because they
were some trendsetting hardcore act or because only 1,999 other
idiots have it. I own it because the music is mind blowing and every
time I set the needle down I want to start a pit.

I’ve been listening to:
Anton Bordman, Neil Young, Fucked Up, The Arcade Fire, and
The Gossip lately, so should you.

Reach me at:
le_sous@yahoo.com

des_ark
by: nick cox

Have you ever gone to a show of a singer/songwriter and sat in the audience and really just gotten it?
Did you ever feel like you knew the person so well based on their lyrics, or the small details like the way
they put their capo on or their between-song banter that you had no choice but to fall in love with them?
Maybe you took it one step further and imagined that you had so much in common with this person that
they, too, would fall in love with you?
Of course you have. We all have. But this is the difficult part: Have you ever found out what kind of
person they were and been devastated when they fell from the impossibly high pedestal you put them on?

Aimée (pronounced eh-MAY) Argote
finds herself squarely between these two
ideas, having often been the target of
pining fans, and having lived the disappointment of the latter circumstance, she
tells me by phone in the car on the way
to work.
And ultimately, we agreed, she’s the
ideal target for this type of projection.
Her new record, Battle of the Beards, a
split with Ben Davis & the Jets, shows
off a vulnerable side that is difficult
not to want to try and relate to more
intimately. There’s an emotive aspect
to her half of the split (five songs of her
own and vocals on the last two, which are
collaborative pieces) that is so raw that it
almost begs to be decrypted, understood,
or otherwise figured out. It is, in this
sense, a seductively telling portrait that
Argote paints of herself across her tracks,
manifested strikingly by her voice that is at once vulnerable and full
of southern twang and charm.
Yet, she says, that is an impossibly difficult position to be put in as
an artist. She describes the moment of being approached at a show
and being faced with this responsibility. “It’s somewhat difficult to
deal with sometimes when you’ve written something that feels personal and close to you and you really just want people to understand
what you’re trying to say...and someone comes up to you and they’ve
got it all wrong. And you really still want them to understand what
you’re trying to say. Do I let them have that experience or do I try to
tell them what I really meant?”
We considered this together in discussing the school of art criticism that argues that a piece of art no longer belongs to the artist
when they put it on display. By this logic, any person’s personal
interpretation of it is thus necessarily correct. Yet what do you do
as an artist when you’re trying both to be understood and to keep a
piece of yourself only for you to own? You’d have to imagine that as
specific as some of the stories on this recent release are, because they
deal with emotions that are not specific to the particular plot. Thus,
they’re bound to be related to in an unintended way.
Indeed, it’s hard not to relate to the picture she describes; the nostalgia, heartbreak, and anger found on the record are nothing if not
universal, especially in the way they appear. In short, the catharsis on
the album is palpable: “Music is a way that I get everything out,” she
says. “All of the demons, not just the ones that show themselves to
other people.” This emotive aspect, as well as the swooning rhythms,
give Des Ark its riveting quality.

“I tell you,” she warns on “The Fall of
the Skorts,” “love can be a hurtful thing.”
The moment that this lyric appears on
the record is indicative of everything
captivating about Argote’s songwriting:
perfectly placed between piano notes and
a string swell, her voice, whose rich yet
vulnerable tones are nearly buried in the
mix, betrays the fact that she’s lived all
she sings about in such a genuine way.
Perhaps it’s the sentimental complexity of the subject matter and her relationship to it that makes it all the more
compelling. While you might think that
her pouring herself into her music would
leave her with no emotional barriers left
intact, she is still manages to maintain
her emotional mystique. “Sometimes,
I feel even more distant from people,”
she admits, speaking to her recorded
expressiveness. “I feel like after you write
[songs like those], it feels like a really big workout for your heart. I
just feel even more exhausted from it...Sometimes, [when] I realize what I’ve done, in that I’ve put out all these emotions that I feel
inside and all of these people have access to them, it makes me feel
even more closed up.” In other words, like she sings in “The Subtleties of Chores and Unlocked Doors,” “You can hold my hand, but
you can never hold my heart.”
As she said this, though it seemed hard to believe she’d have the
emotional energy left to maintain a healthy distance between herself
and her listeners, she digressed. “But sometimes when someone tells
you at a show that they can’t express how it’s made them feel but they
just feel really affected by it, you realize you’re not alone, and that’s a
really wonderful thing, too.”
In the end, it is with this dichotomy; vocals full of bravado, yet
exposed, feeling detachment and solidarity. It’s with songs at once
heartbroken and full of hope that Argote reels you in. This juxtaposition is present in the opening lyric of “Skorts”: “We cannot change
without some hurt.” And it was as clear through our conversation
as it is through her words and music that she is one of those few but
important artists who is defined by this change, both personally and
musically embracing distance and intimacy, love and isolation, pain
and optimism.

Triclops

C : Shannon Corr

During the 25 minutes that comprise Triclops’ debut EP Cafeteria Brutalia, the band sounds completely nostalgic and futuristic at the exact same
time. This is especially obvious in the ten-minute epic “Bug Bomb.” Heavy-handed, but still technically savvy rhythm section work collides with
shouted vocals and frantic guitar lines. The result is completely choppy one moment and equally bouncy the next. It’s hard to tell whether the band is
shaking your hand or kneeing you in the crotch. But after a couple listens, it’s obvious: they’re doing both at the same time.
Triclops originally formed in 2004 when guitarist Christian Beaulieu (Bottles and Skulls) and singer John Geek (The Fleshies) grew tired of their current bands’ inactivity. After working out a number of songs, they got serious about finding a rhythm section. By early in 2006, the full band was in
place and Cafeteria Brutalia was born.
By the time these four songs were released, they had already announced plans for a full length later this year on G.S.L. as well as a trip to SXSW with
David Yow’s new project (QUI). This is fitting on more than one level; Triclops have way more going on, even over the course of their first four songs
than just nods to Jesus Lizard (though there are a few of those as well).
Everything on the EP combines the best things about the edgy, analog era of post-hardcore. But it finds new, immediately satisfying and legitimately
acrobatic ways of putting everything together. The energy and execution make for an incendiary entry into, and almost immediately beyond any subgenre.
This interview was conducted, via e-mail with Beaulieu and Geek as they were getting ready to leave the Bay Area for Austin to knock the free beer
out of everyone’s pint glasses at South By Southwest.

By: Stuart Anderson // Photos: Shannon Corr

How did Triclops first meet, and form?
(Christian) 3/4 of the future members of Triclops! had known each other and
toured together in their previous bands. The original songwriting core of
(vocalist) John and (guitarist) me was hell bent on pursuing a broader, more
ridiculous and uninhibited musical outlet. Also we were reaching back into
our early 90’s influences, and leaving the mental limitations sometimes placed
upon an artist while trying to maintain group democracy to our other bands.
In creating a new music without boundaries, we discovered that we would
need a gnarly rhythm section that shared this ideology. We found it in (bassist) Larry, and (drummer) Phil.
How has everyone’s experience in other bands affected the process for
Triclops, musically and otherwise?
(Johnny) We’re all pretty much lifers, and at this point we aren’t really in

this just to get laid.
If you stay a wingnut
long enough and keep
making music for long
enough, the music and
other dealings you are
involved in will reflect
that wingnut-ness to
a downright uncomfortable degree, and
with a minimal degree
of self-consciousness
and compromise - but
plenty of self-awareness. I’ve been waiting
to get to that point for
years. I think everyone
in this band is there.
(C) Everyone in this
C : Shannon Corr
project has the skills
necessary to make a
band something of a
success. Our experiences, from touring to recording, are so deep and involved
that we only need to tap our own past for insights into most problems and/or
situations that would derail most bands. The song writing process is completely estranged from anything resembling a normal rock band, and all of us
are basically trying to out do any rock music already heard by writing epics
and compositions instead of “songs”. Just staying ridiculous is the most important factor. Kurt Danielson from TAD, said in that movie Hype that they
didn’t have to point the finger at anyone else, they just pointed it right back
at themselves. I take this approach with my songwriting, because most people
are so concerned with being a hip, sexy “artist” that the music they make
fades away in 2 months. This will not happen with our stuff, because it takes
intelligent people, real music fanatics to actually ingest the entire concept behind our band. People might think they have it by seeing us live but the being
that is Triclops! will always have something new brewin for ‘em.
(J) Basically, our shit smells like the fine essential oils of beautiful, sophisticated ladies of society.

How did you end up hooking up
with Sickroom, for the release
of the EP, then with GSL for the
upcoming full length?
(C) Sickroom had put out my old
band Bottles + Skulls, and one of
the owners is a dear friend of mine
from my hometown of St. Augustine,
Florida. We wanted to get an EP out
fast, and get people taking notice
of us instead of waiting for an offer
from an unforseen situation. We
are also operating on another level
of productivity, in the sense that we
record all practices and send them
electronically to each other, wherever
we are in the world. Sickroom also
has good distribution, and really push
their releases in the press so I knew
it was a good idea to work with them
for those reasons alone.
(J) As for GSL, I’ve known the guy
who runs it for years and always liked
him and had a lot of respect for the
way he does business, all the way
back from when he ran Bottlenekk
Distro and helped distribute releases
from my old label S.P.A.M. Records.
He’d sell everything of ours from
Fleshies (my other band) to Los Rabbis and Dory Tourette and the
Skirtheads, and actually pay us on time after selling all this obscure music that
we thought no one would ever buy. We were giving Triclops!’s demos to GSL
from minute one.
(C) The GSL thing was a carefully crafted pitch to the owner Sonny Kay who
we feel has put out some amazing music over the last 12 years, and we knew
that there was a chance to grab his ear so we took it. We initially wanted to
work with GSL, even before we named the band. So it seems everything has
fallen into place quite naturally.
Your songs seem really carefully written, structurally and dynamically.
How does the process usually work? Do you set out for certain criteria
when you start (for instance one song on the EP is less than four
minutes long, while another is almost 11)?
(C) Most of the music of Triclops! starts off with me washing my nards in the
shower. I hear something in my head and I stand there and prune until it’s
locked in place, then I dry off and plug in a terribly out of tune Stratocaster
which makes the original idea shape shift into the composition which I then
bring to Phil, who after hours of tantric masturbation finds some incredible
new way to arrange said compostion. After that is recorded, I then I bring a
bottle of wine over to Larry’s house, where, after a 1/2 hour of sour diesel, he
comes up with a bass line that is trying to derail my guitar line, but somehow
works and all the while John is in class fantasizing about killing cute college
girls and finding new ways to stay awake in archaeology class, which brings
about this holy grail of verbage which we then rinse and repeat in the studio,
all the while not trying to be influenced by the yarling Nickelback rip-off
band next door who wants to open up for us one day.
And out comes an epic.
(J) Sometimes I’ll make Christian rape a guitar part he wrote, just to make
sure it sounds really fucked-up and ridiculous. He doesn’t even seem to mind
much. Then we’ll tinker with the song in the studio for months, and I’ll often
have an entire vocal melody and rhythm written out way before I have any
lyrics, while the rest of the guys hammer out intricacies of arrangement. It’s
all pretty damned deliberate and carefully written, good observation.
You guys are heading out to SXSW this year, I’m assuming you haven’t
done it before. How do you feel about the place of such a large festival
fitting into your plans as a band?
(J) We’re playing in the same building (Emo’s), the same night as Turbonegro, Poison Idea, The Meat Puppets, and The Buzzcocks, not to even
mention our touring buddies 400 Blows and QUI - and we’re not playing the
same time as any of them. Consider my pants officially shitted. If somebody
told me I’d be playing a show like this when I was 19, I would have freaked

C : Shannon Corr

out and hid in the van.
(C) We have once again carefully crafted our situation being a part of the
SXSW shit storm by touring there and back with our great friends 400 Blows
and a band called QUI, which is now fronted by David Yow of Scratch Acid/
Jesus Lizard. So we are settling into the fact that we have to hang/perform
with these rock warriors for a week and these are the type of people we fit in
with comfortably. In this scenario, the people who come to see this traveling
show are the ones who reap the real reward. Also the fact that we are playing
the GSL showcase at Emo’s on Saturday night in Austin,Texas with David
Yow is unbelievable.
Cafeteria Brutalia is only a four song EP, and it seems dense and draining to listen to, which seems completely refreshing to me. Is your plan
similar for the full length, production and songwriting-wise?
(J) Thanks, and yes - for the most part. We’re recording with the legendary
Kurt Schlagel and his amazingly wavy hair at Lucky Cat in early March, same
place we recorded Cafeteria Brutalia with Phil Manley. As for songwriting,
well, we are pretty obsessed with continually “bringing it to the next level”, so
to speak.
(C) There is nothing broken here. Your statements about it being draining and dense are spot on. How may people felt that way abut the Butthole
Surfers?? Hella? Even Sonic Youth. So our process will only upgrade. Like
the weed in California, it gets stronger every two weeks with no memos going out, nothing. The songs have a new sense of melody that gets hinted at
in Bug Bomb. But the ride will be as taxing as the EP. We do hope you will
enjoy yourselves in trying to catagorize us. It makes for most interesting takes
on your intelligence and attention to detail.
What is the plan for the band, from SXSW on?
(C) Not sucking.

I was out on the road, nearing the end of an incredibly long and arduous
tour with a little known Denver band when we pulled into Minneapolis. My
patience with the whole process was growing thin, and I couldn’t wait to get
home. We had played with numerous acts, the near entirety of which, were
utterly forgettable. Except, that is, for STNNNG.
That night, we played to a moderately full venue (one of the first of its
sort for that tour) with the now-defunct Volante and the gentlemen from
STNNNG.
It was a relatively high-energy crowd, and I felt like it had been the best
set we played to the best crowd thus far. I was in good spirits and was looking
forward to the next two bands.
STNNNG took the stage without pomp or circumstance and modestly set
up.
Then, from their first note, it was complete coherent chaos.
Frontman Chris Besinger was the most commanding presence I had seen
on that entire tour, and still contends with some of the more charismatic
performances I can remember.
The crowd was immediately divided into two opposed factions. Those
who, like me, stood in utter awe at the spectacle before me, and those who
just would not appreciate the alarming energy the (at the time) foursome
were putting into every note.
Besinger was running from one side of the other, barking his signature
spoken-sung vocals, announcer-like. His flamboyant gestures were a complete
revelation for me at the time.
At one point, between songs, Besinger stood up on a wall partition in front
of the audience while guitarists Nathan Nelson and Adam Burt diligently
tuned their instruments. “Slaves,” Besinger said with a captivating deadpan,
pointing an accusing finger that panned across dozens of awestruck faces.
“You’re all slaves!” The crowd, unsure how to react, was in complete silence.
Besinger almost masochistically basked in the stunned stillness. It was riveting.

I was a convert.
This was my introduction to the Twin Cities’ STNNNG. The quintet has
just released their most recent full length, Fake Fake, to rave reviews in their
area and elsewhere.
I had been searching for news from the band for the past two and a half
years when this release reached me. Apparently, 2005’s Dignified Sissy hadn’t
quite made it out to me, but I was incredibly excited for this new release,
which grabs you from the first notes and doesn’t let you go until the very end.
I asked the group, who has added bassist Jesse Kwakenat since the incarnation I saw then, about what I considered to be a relative anomaly in the realm
of independent rock music today. With all of this energy on the record and
live, don’t they get depleted from time to time? Do they find they have to
take days off during tours to recuperate from their evidently exhausting set?
“No,” they all say in unison, shaking their heads. “It just comes out
naturally at this point. It’s not even anything we think about. We just go out
there,” Besinger says, eliciting the assent of his fellow band members. “We
even act like that at practice sometimes,” agrees Nelson.
And the Twin Cities area seems to be warming up to this idea. “Sometimes
it seems we can count on a pretty decent draw,” says Besinger.
“But that doesn’t mean they’re going to like it,” Nelson chimes in. “Sometimes they just stare at you.”
Still, they’re working their way up, with back-to-back releases on Minneapolis’ Modern Radio. And it’s possible that many of the people in the crowd
are staring, much like I was, in complete awe. “While we’re playing it doesn’t
seem like we get a whole lot of feedback,” says Besinger. “But then when
we’re done, people come up to us and say they really liked it.”

This, to me, was even more astounding then the energy itself: I know from experience that the easiest way to put on a high-energy show is to have audience feedback.
Concerts have always been meant to be a dialogue of sorts. And whatever dynamic is
established, it tends to perpetuate itself between the crowd and the band. If the band
comes out animated and compelling, the audience reacts well, and the band feeds off
the response, and the cycle continues. Yet it can be a vicious cycle of negativity as
well. And when, like with some STNNNG crowds, the band puts everything into it
and gets nothing back, they often become demoralized and thus begins a more vicious
cycle.
Yet STNNNG are incredibly perseverant. Rather than letting it affect their morale, they look at it as motivation. “It is hard,” says Besinger, referring to the lack of
audience feedback. “But usually when we’re not getting any response from the crowd,
we feel like then we’ve got to go twice as hard.”
As if for proof, this unbelievable show of energy is committed to tape on Fake Fake.
From Beringer’s violent, yet stifled outbursts of almost disturbingly schizophrenic
laughter (“Dubbed Warehousing”) to the dueling angular guitar lines that, if heard
separately would be judged impossible to make sound like anything other than racket,
yet, when culminated, create an almost overwhelmingly precise and challenging
harmony (“Tactics”).
And thus, every bit of energy that is packed tightly into each number of the binary
on the CD, STNNNG matches that with their superlative musicianship. The caustic
bass, the often catastrophic, yet meticulous drumming, the creative, almost improvisatory guitars, and the circus ringleader vocals synthesize to create a package that is as
enthralling to listen to as it is challenging. As in “Grand Island, Neb.,” the rhythm
section often lies down the supporting basis for the intermingling guitars and the prophetic vocals. “In a hundred-twenty years’ time, there will be an ocean here,” Besinger
sings, referring to the landlocked Midwestern state. “And a submarine will seem like
a brilliant idea.” This is but one example of the remarkable aural offerings of this up
and coming band.
If what you’re looking for is to be shaken to your core by furious energy,
STNNNG will doubtlessly have the force, via recordings or live performance, to give
you more than your money’s worth of nearly over-stimulating rock to get your ears
ringing and your heart racing.

[Nick Cox]

Dignified Sissy and Fake Fake
are available from Modern Radio:
http://www.modern-radio.com

In all my years, and with all their genius, I have never read an interview with either brother Marburger.
Their music is inspiring, grandiose, and in so many ways unchallenged and unmatched by any others.
Whether it is the loud/soft crash of I Hate Myself or the spastic bursts of Burnman, they are constantly
raising the bar of underground music. With die Hoffnung, they have outdone themselves; Love Songs is an
amazing and complex album full of sharp tongues, swiftly picked guitars, and thunderous drumming. I cut the
interview via mail with Jim Marburger, the singing, stringing half of the duo. I refused to ask the band about
being from Gainesville: it’s a Mecca, we get it. I shortened the length of the final question’s answer, but the
essence remains. Besides that, it is as is. Jim wanted me to note he is not as cynical in life or about the
record industry as it might seem.

Tell me about die Hoffnung came to be.
No. It would interest no one. For example: So, like, I was waiting tables and
taking a couple graphic design classes but wasn’t really super into it, and
Sebastian was blah blah blah, knew a couple of the same blah blah blah, and
it just, like, clicked blah, always writing little things in those little journals
blah, shared goalsthetics blah, like a family blah, world domination har har,
high-five, etc. Boredom, even small boredom, should be discouraged. Unless
there is high intrigue and/or serendipitous catastrophe in the laboratory, the
provenance of no rock band should see print.
Is being a two-piece a lack of option or purposeful?
Jon prefers just the two pieces. I might prefer upwards of a hundred pieces. I
could conceal myself behind the second row of flapdoodlers, blame any ugliness on the pots and pans corps. And two do not a quorum make. Disputed
melodies are resolved by reading the birds in the sky. No birds? We wait for
birds. Though Jon insists no birds means their vote accords with his. Jon
wears the pants, I guess. He will argue otherwise. It is a stratagem. The tyrant
will tell you he eats the peasant’s baby on the peasant’s behalf.
Having only two players in a rock band poses certain limits, and these
limits become problems that urge different solutions, some more successful
than others, some as yet undiscovered. I would probably have more
confidence playing in a larger group, but I would be less interested. Our
personal artistic successes, perforce rather minor, are more gratifying this
way; the failures, though, are more conspicuous, more frequent, easier to
come by.
This all sounds like rather serious language for an unknown parochial rock
band.
The production on Love Songs has such an expansive roomy feel. It is
amazing, very loose, yet very clean. Is that a result of trying to fill the
space of having no bassist or are you trying to give the band a larger
sound all together?
Per the Shower Rule, the bigger the shower in which
you sing, the better you sound. We recorded in a very
big shower, backed the microphones up some, hoped
to fill up the hole left by the truant low-end with the
sound bouncing off the mildewed shower walls. The
recorded band is a denser, more competent band than
the actual band. Clarity suffered somewhat, I think,
in the bigger shower. Which might have been to our
advantage, i.e., uncorrected mistakes are smothered.
Regardless, the next recording will be produced in a
smaller shower. Or maybe in a bigger shower. The
Grifters recorded some songs in a parking garage, I
think, with the effect of a great natural reverb. Low’s
church recordings sound suitably airy and solemn.
Maybe we will book the Grand Canyon. Rob

McGregor, the gentleman who records much of the local music, and much
music from abroad, is building a studio with a big central open room, which
will, I expect, make some interesting sounds.
How does this band vary from your previous bands? die Hoffnung
certainly seems to be a combination of the two, the spastic blasts of
Burnman mixed with the drawn out rise and fall of I Hate Myself. Are
they separate entities or do you see them as one long continuous
statement? I ask because between Burnman and die Hoffnung you
revisited I Hate Myself with Roy Sullivan vs. The Lightning. I wonder if
this intentional, if you see your output as one stream, rather than three
separate bands.
We wrote those Roy Sullivan songs kind of between formal bands, recorded
them on a lark, figured they sounded like something I Hate Myself would
have done. Var [from No Idea] wanted, for whatever reason, to press a CD
compiling IHM songs formerly only on vinyl. The Roy Sullivan songs were
meant to be extra songs, supplements (even more shockingly unsatisfying
than any of the other songs), some sorry incentive to buy the CD. Pressing
the songs into vinyl was an afterthought. The CD, incidentally, never came
out.
die Hoffnung will likely be the last band I’m in; thus whatever songs are
forthcoming, at whatever tempo or volume, will probably manifest under
that moniker. In the music business, band names serve as brand names. One
expects a particular brand to manufacture a product of a particular character.
Jon and I are not in the music business, thank goodness, and so our qualitycontrol division need not be as strict.
One Stream? Why not. Though any direction whither we flow is not
deliberate. And it’s all bad water.
I believe for the most part all of your bands releases are on No Idea.
What’s your reasoning behind sticking with this
label?
Adolescent nostalgia. Community. Proximity. The NO
Idea babies, though pale, are both beautiful; if Var and
Jennifer can make beautiful humans, why shouldn’t they
be capable of making nice records? Truly we have no
choice, because Var, not without vigorous urging, is the
only one who will make our songs into a record. And
he’s a seldom seen friend, so making a record with him
is our quality time. Rich Diem, of the Bakery Outlet
concern, is also a friend with whom we’d like to
someday spend similar quality time. I hear that he
and his staff do all their preliminary layout work with
notebook paper and pencil atop surfboards, fat geezer
surfboards with one fat fin astern, abob in the crummy
crumbly St. Augustine surf. Then it’s back to the

clothesline to hang the drafts that didn’t dissolve. The thinking is that the
ideas that endure are the strongest.
I notice that you rarely tour or excessively promote your records. Is this
because you don’t see your work as a product to sell, but rather as an
artistic statement?
If it’s a product, it’s a pretty sorry product. “We can’t give these things
away,” is what I imagine Var saying, standing before the cold stacks of die
Hoffnung records, shaking his head, the innumerable muscles that control
human facial expression all tense, arms akimbo, starvation slowly setting in,
the pathetic moans of his hungry children carried on the chilly draft through
the sagging No Idea warehouse. And ‘artistic statement’ is too fancy wording
for what we’re doing
Touring is not any fun. The fun part is crafting the songs up in the attic
under the single dim dangling 40-watt light bulb, big eviscerations of pink
fiberglass spilling from the ceiling, deaf disoriented rats stumbling about. A
touring band seems to me a bit like a parking lot security guard, lonesome,
sitting there waiting for something exciting to happen, maybe hearing a cat
rattle on the pavement, shining his flashlight in the direction of the noise,
it’s just a cat, here kitty kitty, maybe I can get it to come over here, here
kitty, oh here it comes, better not touch it looks to have some mange maybe
worms, shoo kitty, shoo, think I’ll have a drink, thought I’d wait ‘til later but
it couldn’t hurt to have a little toot sooner, my life my life, as a boy I thought
by I’d have cured cancer and performer the first whole head transplant, but
here I am, waiting, waiting, like at the dentist, waiting for something I don’t
even much want.
Here’s a quote from a recent interview with the much-hyped singer of a
much-hyped athletic rock band. It might be germane. I don’t know. But here
it is anyway:
“People are consuming music quicker. I think you have to have music coming
out…if you make a record every year, it takes some pressure off you. You
don’t have to make your fucking masterpiece every time because you’re not
waiting three years to build it up…If we needed to write a song, we could
probably go do it right now.”
If I needed to write a song (Can you imagine needing to write a song? David Geffen explodes into the bullpen, points to an idle band, says, “You, band,
you’re not doing anything, I need five riffs about melancholy by midnight,
and throw in a chorus, something catchy, harmonies and everything, and a
guitar solo, make it ironic if you want, who can tell anymore.”) I could also go
do it right now, but it wouldn’t be a very good song, and I could have spent
the time wasted finishing a bad song on starting a good one.
I don’t guess there’s anything wrong with making money off your music. I
would not refuse money made from our record, if such a thing were tendered.
As it is, I am still in the hole eight hundred dollars for the die Hoffnung
recording, and about six hundred dollars for the last IHM recording. But
music is to some a recreation and to others a livelihood, and just because you
make no money from it doesn’t mean you take it more seriously or treat with
more reverence. What’s tacky is, I think, when those who do make money
from music or wish to make money from music are impelled in an aesthetic
or ethical direction not otherwise entertained. Bad decisions are often made
when money is dangled as bait. This is a truism we are supposed to learn as
children, e.g., ‘I’ll give you dollar if you eat that,’ that being uncategorizable
matter invariably on the ground, probably near feces or including feces, and
already deemed inedible by starving mongrels and rodents. But plenty of
good records have been made by wealthy celebrities; plenty of good records
have made wealthy celebrities out of talented paupers. Smugly staunch champions of the underground, when they sign to a large label, which they will do
after repeated and vehement denigration of such a thing. They usually dismiss
their change of heart with something frivolous like, “We just wanted to see
how far we could take it,” referring invariably to their record sales rather than
any risks taken within their music, which is unfortunate. Then they go and
spend a month getinng the “right” snare sound with some elite producer, start
calling their minstrelsy ‘art,’ start calling themselves ‘artists.’ Usually they
regret their decision.
Consumerism itself has become a form of entertainment. Consumption
has replaced experience. There are only new products left to discover. Socalled counter-culture bands were once an impediment to this unfortunate
species of intellectual decadence (Of course many of them championed their
own form of intellectual decadence). The resistance in most cases was passive,
and maybe subconscious, but it was important. Now, fewer small-time bands
seeming to be baffling the trend; many are encouraging it. Even our underground heroes are abandoning idealism for fear of missing a chance to make
a million bucks. Idolatry is vigorously pursued. Where are the Minutemen
when we need them?

A recreational band doesn’t have to become a professional band. This used
to be taken for granted. The impetus for music, before it became venal, was
social. Someone was standing on a cliff above a canyon, shouting “Hey! Here
I am! I exist! Look at what I’ve done! Is anybody out there?”
How does the artwork of Love Songs correlate with the title and the
lyricism? Specifically the dead fish in the sea and the love is blind bats,
to what degree are the aesthetic of an album and its content related for
you? Why not have pictures of your band going off?
The songs, explicitly or implicitly, in one fashion or another, all explore, superficially perhaps, some tangentially, what is called love, how it can manifest,
physically and emotionally, how it’s used, how it’s exploited, how we react to
it or don’t react to it, the consequences of its perceived absences, etcetera.
Thus, Love Songs. The album artwork, though shamefully lazy, is deliberate.
(The fish, by the way, are alive and ardent, struggling forth from the water
into an alien atmosphere to mingle with other fish and make baby fish. The
bats are simultaneously warm and horrible.) We were pursuing a sort of harmony, I guess, something interesting to look at and subtly unified.
Album art isn’t as important to me as it probably should be. It’s nice to artwork that compliments the music it envelops, it’s even a pleasant surprise to
see artwork that enriches the music, but neither, I think, are mandatory. And I
do like packaging that’s interesting or clever for it’s own sake, but origami will
not make a bad record good, nor will it prevent a bear attack.
Why not having pictures of us going off? Going off is contraindicated by
the die Hoffnung team of Swedish physicians. When we play in public, we
just stand there like cold fish. Doctor’s orders.
Lyrically this record seems to be more personal, in someway it seems as
though there is a narrative within the song’s structure and placement. Is
this true and does it reflect your own experience?
Anything personal is buried within the fat of the songs’ characters.
I don’t think the are so much linear narratives as they are monologues and
dialogues. A semblance of narrative may obtain, though.
Song order on the album is chronological. “Lovemonger” is the first
song we wrote; “Tour of Bridges” the last before recording. I think they are
appropriate bookends, both broaching the US’s recent tawdry, meretricious
adventures in foreign policy. The lyrics of “Lovemonger” were supposed to
be composed entirely of homophones which would read simultaneously virtuous and vicious, inspired of course by the bald duplicity of the Bush administration. But I didn’t have the ingenuity to match my ambition (I attempted,
rather unsuccessfully I think, some similar wordplay with the carwrecked
drunk’s soliloquy in ‘der Autounfull’.). So, I pursued a simpler dichotomy,
i.e., the words are sugar but the sentiment is venom. “Tour of Bridges” was
conceived as simply a travelogue of all the wonderful bridges that span the
United States, a list of things that could have happened on them. But the lyrics were infected with some other thoughts and fancies.
At times, it seems to me you are taking shots at your own generation
and its attitudes towards love. I have a feeling this isn’t true, but I sight
lines such as:
“The cracks in my country breathe fire. White Boys Will Burn!”, or:
“Barboys….would mount birds barely wooed by a liquor this crude”, or:
“First wife, neglected. Next wife, infected.”, or:
“What bold boys crave, something to slay, someone to save.”, or:
“Drink, friends, dance down your past. Love & Virtue won’t last.”
All of which seem to examine the misogynistic tones of modern sex/romance. Am I reading to deeply or are you criticizing the overly neglectful,
emotionless, self-gratifying vain state of Modern American love?
I’m not really sure how to answer your question without referencing
personal experience, which I don’t want to do. It’s often too easy to be cynical
about love and affection and our mal-/mis-/nonfeasance toward it. We tend
to follow the path of least resistance, in life and in art. But I think there are
equal parts pessimism and optimism in the lyrics, or that the scale is not
tipped too drastically in one direction. If I could talk about it any more intelligently or intelligibly than I did on the record I would have written a thesis
instead of some songs. I do hope the next record will be more celebratory. It
will be called, I think, Christmas Songs & One Song About Beowulf.

Love Songs is available from No Idea Records:
www.noidearecords.com

Rob
Crow

Rob Crow is the lead singer of Pinback and has just released
Living Well, his new solo record. Upon hearing this piece of news,
you’re going to do one of three things:
A) Say, “Yeah, I know. Pinback is my favorite band. I’ve already
bought the record. I hope this writer had some intelligent questions
that provoked interesting responses from one of my favorite
musicians.”
B) Say, “He has a record out? How did I not hear about this?”
Then you’ll throw down the magazine and run to the nearest record
store (e.g., your computer).
C) Say, “Who?” and read on.

Ultimately, at first glance, you’re not going to hear a whole lot in
this record that you haven’t heard from Pinback musically. But take
that with a grain of salt, because though Crow’s signature vocal timbre and guitar tone create the bulk of this record sonically, it’s years
apart from anything Pinback’s done conceptually.
There’s no doubt where the inspiration came from for the album;
it’s entitled Living Well, and there are various family photos in the
insert. The back cover, for instance, is Rob and his wife. Here, Rob
is pictured with a cup of coffee by the side of his house, which is
festively decorated with pumpkins. This image perfectly sums up the
domesticity that ostensibly led to the recording of this record, as well
as the lyrical motifs therein.

Being a prolific indie rock star seems always to have been the
ideal life for the bachelor: touring eight months a year,
writing and recording the other four, not knowing what city
you’re in or what day it is a week into the tour, playing live,
giving interviews, and more. It’s hard to imagine where anyone
with a girlfriend, much less a wife, would fit within this scene,
and we’ve all heard stories about and/or lived the relationship
issues that spring from the inability to find the equilibrium
between home life and artistic life.
I could relate to how difficult it must be to reconcile these
two vying commitments. For example, although my efforts to
get in touch with Rob failed until a half-hour after our
scheduled interview time, I had to give him a break. If it had
been just about anyone else, I would have surmised that the indie
prima dona had stayed out too late from a show the night before,
or was just too busy with his rock star lifestyle to make good on
spoken agreements. Yet I could imagine that Crow had gotten
caught up changing diapers, going to the store with his wife, or
listening to the heartbreaking musicality of his son’s coo over the
baby monitor. And I had to respect that.
But Crow seems nothing if not at ease with the historically
precarious situation. He thinks nothing of bringing his son along
on tour. And he encourages everyone to bring their families
along, sharing his respect for the importance of family: “I try to
make it so that everyone is happy and no one is lonely. We keep
it like a family unit.”
And the importance of the family unit to him is clear. His
record art reads like a family photo album. One photo depicts
him and his newborn son in matching Halloween costumes, his
wedding ring prominently showing. You’d have to imagine that
not only can he seem to find the balance between career and
home life, but that the two pursuits are actually fueling each
other. According to Crow, for example, his son (also named
Robertdale Crow, though he has the addition of III) “likes to
be in the room while I’m recording.” And the youngster is also
following in the footsteps of his father: “He’s got his own instruments already.”
Across the record, you’ll find that it is full of family-based
songs, like “Ring,” which describe his courtship with his wife. As
you’d imagine, the record is almost overwhelmingly selfconscious.
And this is what gives the record a sound that, although
similar to Pinback, is all its own. It seems to suggest a musical
and personal maturity that is somehow charmingly absent from
the majority of Pinback’s work. But then again, that’s what gives
Pinback their innocent, childlike allure. Crow’s work is much
more grown up in every way, particularly the subject matter.
Still, that’s not to say that it’s devoid of the optimism that makes
his seminal indie band great. “Taste,” the record’s third track,
reminds the listener of the carefree nature of the better Pinback
recordings. Indeed, if anything, Crow’s solo work, inspired by
his budding family, contains much more of that optimism for
which Pinback is famous. And rightly so.
This is when you begin to realize that Crow deserves
recognition for more than just continuing to record, but to
handle it all so well. When you talk to him, you can’t imagine
how busy he is; I listened to him rattle off a half dozen projects
whose records are coming out in the next year, a solo tour, and
his own record label while his son made son sounds in the
background. Yet he seems so at ease with the insane constraints
of so many projects, both familial and artistic.
And that’s where “Living Well”, in hindsight, regains
the carefree qualities of Pinback. After all, just because his life
has, in the past 2 years, become much more domestic, he isn’t
the typical portrait of a father. Gone is any hint of resignation
or exhausted lethargy. If anything, it seems like Crow’s career is
paradoxically just getting started.

[Nick Cox]

Living Well is available from
Temporary Residence Limited:
http://www.temporaryresidence.com

(Damezumari)

By: Sam Sousa

I havenâ&#x20AC;&#x2122;t heard a band this good, in this vein, in quite some time; these days most bands devise song titles and
head shots, before they write a song. Damezumari has it though, rising out of the Midwest, beyond the (we just
stopped over in the) poor side of town photo shoots, and mid-level stardom, a saving grace to a screaming hardcore
sound that seems all but alive to me. I contacted primary songwriter Eric Titterud via e-mail and got these answers
about their current state of things and the near future.

The hitheringandthitheringwaters of 10” is easily one of the best
recordings I heard last year. For me it recalls a style of “hardcore/screamo/emo” (whatever brand name it is these days), I rarely hear anymore.
How cognizant are you of your taste during the writing process?
I actually don’t listen to the older emo stuff as much anymore. I mostly listen
to Do Make Say Think, Criteria, Anathallo, Sufjan Stevens, and some other
stuff like that. Most of my formative years were spent with the Descendants,
Avail, Propagandhi, Rice, some others. And there was this period in between
where I listened to a lot of emo stuff, and I guess it just sort of stuck with me.
Lots of the other recordings get away from it here and there, but I usually try
to make any one particular song channel several of those energies. Sometimes, though rarely, I might try to write towards, though not exclusively
within, a certain genre or sound, but every song has a purpose, or a series of
goals, that it needs to accomplish musically, and I think that the honesty that I
get from the older emo style is almost always a part of that, always something
I try to achieve.
The lyrics take on a personal political tone, such as ‘Altruism’ and
gainful motivation, or the Carpe Diem attitude of ‘Groundhog Day,’ both
of which seem to combine in the lyrics of ‘Second Chance.’ I wonder is
there an intentional balance between personal and political discourse in
your words?
Yeah. In the sense that I’ll write something too personal and then on the next
song or even later in the song I’ll feel an obligation to broaden its application. There’s a danger in becoming too insular with one’s lyrics. Nobody will
relate. But there’s also a danger in just preaching on some issue or forgetting
the humanity and emotion involved in any particular theme.
What was the best show the band ever played?
Man. Tough. Probably Doug and Daniel’s last show. It was a house show. Just
us and Atlatl (their other band). Lots of friends. Doug built a portable living
room. No cops or anything. People listened and seemed to care.
Your name means a “shortage of liberties,” a bit ironic for a band that
thrives on a sort of controlled chaos style, don’t you think?
I suppose so. Liberty and freedom are sort of paradoxical concepts. Absolute
freedom equates to anarchy, a freedom from restraint, responsibility, form,
and lots of other things. So chaos isn’t very productive as a mode of art, nor as
a mode of work. It isn’t very responsible either. Both control and purpose are
always necessary. I think we have exercised more liberty with regards to the
variance in the type of songs we write than most bands.
You guys are centered around Tulsa, Oklahoma, what’s the underground
like there?
Virtually non-existent. We used to have a decent punk scene with N.O.T.A.
and Brother Inferior and a few others. We’ve had various bands that have
made it out of the state occasionally. But unfortunately, most Tulsa bands are
limited to a dance-or-mosh-soundtrack-role. Music to listen to while drunk.
Can you tell me a little bit about the line-up change. I am wondering why
& how that took place?
The primary energy of Damezumari has always been located with me. I had
tried to start the band several times, “the band” essentially being defined
by a certain set of songs I had written. I finally found some interest from an
old high school friend of mine, Doug. He brought in Daniel on bass and we
played like that for a while, did a tour, recorded three times. But then Doug
went to school. Since I always pretty much wrote everything and had several
new songs worked out, I didn’t think it should have to end. I got an offer
from a drummer, and it went from there. Now I am moving to Irvine to work
on my Ph.D., and I have no intention of ending the band. It will just be a
matter of finding people to play with. This has never been one of those solo
project type things where I write every part. It’s more like a protean shape
shifting thing. It just sort of takes on some characteristics of the people I play
with, but always has the same basic core.
How did you hook up with Sticky Translucent Goo Records?
Ben contacted us through email. We’d never played in the UK, so I guess he
just heard our stuff through Soulseek or something. Some people put a couple
of our songs on virtual mix tapes. It was kind of weird not having a personal
relationship with him, but he is a really nice guy. I actually got to hang out
with him last summer while I was studying in London. Good times.

I read the band is going on hiatus. It seems as though you’re building
up a fanbase and do quite a bit of recording, as though the steam were
building, so why toss in the towel now?
Well, it’s not exactly quits. I’m moving, so this lineup won’t work anymore.
But I’m going to try to find people to play with in Irvine. I don’t intend to
stop playing music until I’m at least in my late 30’s or early 40’s. Even then, I
don’t want to, it just gets harder.
When can we expect the discography to drop?
Hopefully sometime this summer. It’s gonna be a pretty sweet deal. 64 page
booklet with full color cover, filled with art and lyrics. Two CD’s with 31
tracks total. Hopefully it’ll only be discography part 1, but who knows.

Scope this band at:
www.damezumari.com
or, the inevitable:
www.myspace.com/damezumari

The Marked Men

With three full-length albums and a couple 7”s under their collective
belt, Denton, TX band The Marked Men have been trudging around the
US and Europe for the better part of six years. During several email and
phone call exchanges over the last month between me and Marked Men
bassist Joe Ayoub, we both were able to discover a few new things about
each other, the most obvious being that an interview should never under
any circumstances be conducted via email. Although it is always great
to be able to communicate with everyone in the band, that is not always
possible. I hope that this interview does not discourage you from visiting
The Marked Men’s website or checking them out next time they come
through your town. Texas nice for sure.

By: Jason Zabby
You would have to exist in a vacuum to have missed the fact that The
Marked Men made a huge impact with Fix My Brain. Were you surprised
by the attention paid to the band and the new record this past year?
I am always just flattered and floored at the same time when I hear that people are talking about out record. It is the ultimate compliment, I am a fan of a
lot of bands and I am constantly talking about bands and to know that people
are talking about our record like I talk about other bands’ records, well, that
is just so rad. It is like being in junior high and you hear that she thinks you
are nice or even better really nice, you just melt inside.

What did you guys shoot to achieve during the writing / recording
process on this last record that you may not have gotten out of your last
record, On The Outside or even your very first record?
I don’t think we had any specific goals, I don’t think we ever had any goals
when we were recording a record. We do what we want and that has seemed
to work for us. We just want to be happy with the whole process that is the
goal, happiness and maybe a hard-on.
Would that be used to play the vinyl?
My hard-on is used for many things, such as household repairs.
Do you think you look like a young Hedgehog (Ron Jeremy) with that
mustache? I think it is super hot, are you planning foray into porn Joe?
I was really going for a Lester Bangs kind of look; I got Ron Jeremy, which is
fine because he has quite a reputation. I don’t know if I could be in porn, but
to be fair I have never really applied myself so maybe in the future, you got
any leads?

Hey! This is a family publication. Some readers may not know this, but
a couple of the fellas used to be in The Reds (not you of course). The
Marked Men’s sound, to me, is a bit distanced from the Red’s “sound”,
have you heard any backlash about this or do folks tend to pay little
attention to it?
For the record I loved the Reds, still do, and I have never heard any backlash
but really there will always be someone who thinks we really don’t bring it,
like the Reds. Whatever, if someone feels that way awesome, at least they
have some taste.
So what you are saying is that I have taste?
No, you have no taste. Although, if you like the Reds, that is enough. I still
think Shellac and the Melvins suck. I have a hard time getting into interesting bands.
I think Shellac and the Melvins are interesting bands!
I am just not into interesting bands.
I heard that during your European tour Mike (drummer) had a certain
medical situation that meant not only was he in extreme pain, but his
band mates had to load his drum kit every night. How did that all turn
out? Is he to 100% yet? Is he carrying the other guys’ shit for a few gigs
or what?
Mike is hardcore, he was in intense pain for a couple of months, and I know
the European tour was the worst for him, but he pulled through. In Sweden
I think Mike thought he was going to die, because he got up after a song and
was just done, we thought we would have to take him to the hospital. We
were worried about him. We told the crowd he needed to go to a hospital
and they just got really quiet and stared at us. He is now 110% but he does
not carry our shit, which would be cooler if he did, but he did buy a van so
we are even.

The last couple of years have really seen an upsurge in local punk
scenes. What are your impressions of the local music scenes around
the country? Specifically, are things mellowing out or is the state of DIY
punk rock still strong?
There are always a few people who try really hard to make things happen
and those people exist in a lot of places thank goodness. I think D.I.Y is still
really strong it just changes and morphs into other avenues that you have to
explore and find. There will always be the new place to have shows because
there are people who do what they can to have a rad band play their town.
How do you feel about digital music as a format? In general, what do
you think the underground music industry will look like in five years?
How will the internet and downloading effect the process of recording
and releasing music?
I don’t know, I have tried to download stuff and I can never to get it to work,
maybe I need a tutorial. I don’t care if people download, if someone wants
our record they will find a way to get it, now people download so they can
put the album on their iPods and junk. I am hoping more and more vinyl will
be released in the next five years, I think I would rather download music than
buy a CD, but I would rather buy vinyl than either though. You will see more
mp3-only albums in the future and that is lame.
Speaking of vinyl, I hear people buy up Marked Men vinyl like poison
candy, have you ever seen your records on eBay and how much were
they going for?
Unfortunately, our first record has not been repressed for various reasons,
some of which are beyond our control. Although, I have heard that some
sharks sell it for way more than they should and some have purchased the
record off eBay for a pretty penny. It really makes me wish we could have it
repressed. I just want people to have our music, but I do not want them to
spend their hard earned money for a piece of wax at the same time.
What do you do in your spare time?

What exactly was his medical condition?
He had a hernia; his insides were going to pour out of his belly button. He
was fearful of puncturing a hole in his belly. All jokes aside, we were all concerned for his health, he is a really good friend.
I have heard some instances where American bands caught grief over
the current US foreign policy. In general, how was this last tour of Europe compared to your past tour over there? Did you encounter hostility
simply because you were from the States?
Europeans want to talk about politics, even the kids know more about politics than most Americans I know. This last time we went to Europe was three
and one half weeks, compared to the first one which was ten days. I had a lot
of fun, especially Scandinavia. Crap, I loved Norway and Sweden so much.
North Texas has produced some great punk rock bands in the past, tell
me about some of the local bands you are currently listening to, or at
the very least have played with and think we should all check out.
The Wax Museums, Potential Johns (Jeff from the Marked Men’s amazing
band), The Gash is getting back together, Mike is in another band called
Stumptone, The Pumpers, and Maaster Gaiden.
What bands have you encountered while on tour zig-zagging the country
over the past year that have really made an impression on you?
Some of the bands that we played with who I did not already know that I fell
in love with were the Points, the Manikins, noise, noise, noise, Underground
Railroad to Candyland, probably so many more.

I work and sometimes hang out with the ninjas. Yep I get crazy. I play with
my extensive doll collection. I like my hamster, his name is David. I like to
pet him. He is soft.
That sucks for you Joe. What do the Marked Men have up their sleeve
for 2007?
A couple of 7 inches and a record, shhh all of this is sort of a secret, or maybe
we have no fucking clue what we are doing.
How do you all feel about the Mayan calendar ending in 2012? Does it
spell curtains for planet earth or am I just hoarding food, porno and KY
for nothing?
Food, porno, KY, what are you doing Friday night? Fuck the world I’m
hanging out with you tonight.

Forget Forget, Derive Derive
I honestly can’t believe this band doesn’t have a hit record
or a major label deal. As my wife described, it’s like L7 meets
Rilo Kiley. This five-song EP, comes in the best packaging
I’ve seen sometime. It’s a recycled cardboard, silk-screened
cover, which folds out to reveal the CD and an envelope
holding the insert. Their sound is very personal, in a way
that’s very lacking these days. This teenage crew is full of pop
melodies that are catchy, but not tired. It’s hard to believe the
up-tempo stomp of “We’re Not Listening” was recorded in a
basement or written in Birmingham. I don’t even really know
where to begin because I’m so astounded by the quality of
this entire EP.
“Andy, Our Loss” is crowd moving, sugarcoated, rock.
Katie Crutchfield’s deadpan to slight serenade delivery glides
perfect over the Rentals-esque keys of “7 Days.” But the Ackleys can break it down as well. On the closer “Can of Ashes”
Carter Wilson’s smooth drums give a lush background to the
slow number about sympathy and envy. The Ackleys are able
to communicate on a level that transcends local scenedom,
and puts bands on the radio in no time. I’m not saying the
radio is good, I’m just saying they have what it takes to get
there. [Review : Sam Sousa]
House Of Love Records

The Aquarium
Self-Titled

The Aquarium is a DC-based duo consisting of Jason
Hutto formerly of Motor Cycle Wars and Laura Harris.
They have been playing together since 2001, though this
is their full-length debut. Their sound is based on a core
of keyboards and electric pianos. Plenty of fuzzy, distorted
noise is used to construct a sound that is more complete and
detailed than you would expect from a two-piece. There are
some laid back and, for lack of a better, word groovy/funky
bass lines that push some of these songs in an interesting
direction. One of the songs I liked best, “Can’t Afford To Live
Here” serves as a good microcosm for this album. It has elements of psych pop, slowed down and buttressed by creative
electronic noises. Jason Huttos’ vocals are subtle and fitting.
Other notable songs are “Credits” which reminds me of the
Beach Boys and “White House”, a very upbeat dance-ish
track with plenty of nervous energy and a catchy guitar riff.

I liked this very much, and when you add the fact that there
is a song called “Maxxo Sesh” that gives it an undeniable
dose of bro-titude, I say this is a winner. It sounds like both
members have significant other interests and this being their
first album after six years of playing together makes me think
this is a type of side project. But I would be very interested
to see them live and hear other stuff they put out. [Review :
Andre Medrano]

Dischord Records

Architect

All is Not Lost
From the first few seconds of “The Awakening”, you
instantly know what to expect with this album. A cross
between Unsane, Cave In, and old Bloodlet, this album grabs
on instantly and fuses itself to you. “Sic Semper Tyrannis”
brings forth ambient tones mixed with the overriding heaviness. I like the change up in the vocals, dropping them into
the background from time to time to focus on the riffs and
bring more dynamics to the songs. “11” is a break track of
ambient goodies until pounding into “Trepanning for Oil”.
The song slams its way through with the main message of All
is Not Lost. “13” is another break -- 13 seconds of ambience,
before “The Hell of Upsidedown Sinners.” This is the huge
Unsane break for me; I love it. It’s got a strange break-beat,
and is really heavy on the bass. The bizarre riffs and seeming
chaos work beautifully. “The End of It” is a minute and a half
pummeling and brooding tune. “Collapse the War Engine”
– (I wonder what these guys are talking about here). These
guys make no mistake with their message – think for yourself, do the research, and speak up.
“Broke Dick Dog” follows the ambient intro of “33”, and
is one of the most poignant tunes on the album. “You are not
going to make it” is the chant at the end, and the rest of the
song helps insure that if you’re driving you suddenly step
on the gas and flip off the guy trying to get ahead of you. It’s
aggressive, and damn good. The last tune on the disc is my
favorite – “The Giving Tree”. It’s ambient, noisy, and helps
calm the body down before it completely falls apart. “Scream
our throats red while we sing this song!” This Syracuse band
has really released a great album. I highly recommend this if
you’re into Unsane, Meatjack, or Bloodlet. [Review : Pat Dixon]

Black Market Activities

The Assailant
Colera
Seattle may not be the first place you’d think of as a mecca
for hardcore music. But that doesn’t mean the city hasn’t hit
a few out of the park, and The Assailant are the next on the
list. Starting with nods to previous Seattle heavyweights like
Kiss It Goodbye, or especially Botch, The Assailant burn a
serious path of their own. The opening track is a frantic and
punishing introduction, which begins with jagged, angular
rhythm section work reminiscent of Breather Resist. It leads
directly into the opening riff of “23” (all of Assailant’s songs
are numbered), one of the record’s most complete and standout songs. It slashes back and forth between hard-charging
metalcore and much more tortured and sludgy hardcore that
reminds me a bit of the slower sections in older Converge records. The tempos are slightly slower than you’d expect from
similarly heavy bands, which is one of the things about The
Assailant leaning toward the best things about Botch. There
are exceptions to this, most notably “21,” the third track,
which is one of the fastest here. Its squealing guitars and
ominous vocals remind me a little of a less technical Gospel.
A slow and looming instrumental track, which is the
middle point of the record (one of two tracks titled “00”)
serves its purpose perfectly. It acts as an intermission and
significant departure from the more intense songs surrounding it. But the track maintains the sound and intensity of the
record, just in a more patient way.
The largest accomplishment on Colera is the closer, “20,”
which is way longer than any other track on the record at almost ten minutes. It more than backs up its ambitious length,
covering as much ground as the eight full tracks before it. It
features some of the record’s strongest guitar work, switching
off between heavy riffs, broken-up lead parts and combinations of the two. There is also pretty heavy interplay between
guitar and bass throughout the track, which is something
only hinted earlier in the record. The song traverses each
extreme that The Assailant gracefully covers throughout
Colera, from heavy-handed, slowed down riffs to faster, more
metal-influenced hardcore. Though it’s obviously carefully
constructed, there’s a definite recklessness throughout the
record to go along with an attention to detail that makes for a
much more lasting impression than you might expect. All in
all, fans of adventurous, heavy hardcore of any flavor (old or
new) will find a lot to love about The Assailant.
Rome Plow Records

Ad Astra Per Aspera
Catapult Calypso

I wasn’t quite sure what to make of this release on its first couple spins. For me, this is usually a
good sign.
This was my formal introduction to this Lawrence, KS quintet, although I was certainly familiar
with the name. This is a band that has managed, intentionally or not, to keep a pretty good amount
of hype up about them for a solid year.
Catapult Calypso has an incredible amount to offer any listener paying any amount of attention.
On the surface, you can be wowed by vocalist Mike Tuley’s fantastic vocal timbre while screaming
or singing. Or you could be impressed by the thick yet cohesive instrumental textures. You could
even enjoy the catchiness of the songs that, for the most part, exhibit equal parts angular minimalism and dance rock. (This of course, excludes the strange yet likeable square dance number entitled
“Everybody Lets Me Down” (sic).
Yet deeper down, there’s much more to appreciate about Ad Astra. Take “A Fish Would Much
Rather Swim,” for example. Here you have a sexy groove that is accented by angelic piano and a
simply lust-inducing guitar ostinato. The primal build-up features collective grunts via gang vocals,
and eventually breaks into a high-energy anthem in which the classically-timbred piano duels with
the wiry guitar lines. The result is purely infectious.
Other particularly loveable numbers include “The Romantic One,” which is not an entirely ironic name. It’s easy
to see what’s romantic about a sultry ballad whose energy
is nothing short of remarkable.
Anymore, it’s difficult to put five of any people in a room together and hope for them to have a fraction of the musical chemistry that AAPA demonstrates on this release. What their record exhibits in jagged angularity, it matches in musical maturity extant in many forms: the supportive drums,
harmonic piano lines and excellent auxiliary percussion. The solid grooves that result from this musical relationships are simply superior. This is easily
one of the more consistent releases I’ve heard from this genre in a very long time.
Like many things in this world that appreciate with time, Catapult Calypso becomes both more fruitfully complex and accessibly simple with further
listens. This is a band that has deservedly received a noteworthy amount of praise, not just in their native Midwestern Kansas, but also around the country.
Needless to say, as fantastic as this release is right from the start, it will also be intriguing to watch for the further maturation of this already stellar
group. [Review : Nick Cox]
Sonic Unyon Records

Assholeparade
Embers

Brutal. Absolutely brutal is the only way to describe
Assholeparade’s latest thrash/fast/throat grabbing release.
Formed and disbanded in the nineties, they reunited for the
Fest 3 a few years back, and smashed out Embers, their first
full-length, in 2006. Twenty-one songs in under twenty minutes, the shortest being only 18 seconds long. Travis Ginn’s
guttural growl and throat burning screams are impossible to
dismiss. Tracks like “Closure Bugs” and “Re-Throned Emperor” find the mix of Ginn’s vocals at their peak; never yelps
and out of breath lyrics, but the opposite, stretched out lines
for fluidity. And the Parade doesn’t glue itself to one sound.
The liner notes find the album ‘Dedicated to Hardcore’ and
Embers crosses every genre of hardcore from the thrash like
“The Uncomfortable Goodbye” to the chugga-chugga of
“Shroom Thrash” to the skate-rock sounds of the aptly titled
“Quarterpipe.” This is where the band succeeds; by never
tying themselves down, they are able to flash their talent as a
hardcore powerhouse. Jon Weisberg’s breakneck drumming
is eye gouging, hitting stride for the strings to cut back and
forth from light-speed grinding to straight ahead hardcore.
All of which back a tongue in cheek cynical lyricism on
tracks like “Checklist Life” where middle class life is in the
crosshairs or “Cash in of the Christ” where the Parade mocks
anti-Semite Mel Gibson. Embers burns at a fueled pace,
leaving you smoked before you’re even lit. Get this pronto!
[Review : Sam Sousa]

No Idea Records

The Atari Star
Aniseed

The Atari Star is essentially the house band for Johann’s
Face Records. Singer/guitarist Marc Ruvolo and drummer
Davey Houle both run the label and are the only original
members of the band. The band has quietly and consistently
released three previous full lengths and two EP’s since
forming in 1999. Aniseed is their fourth record and it’s pretty
similar overall to 2005’s Prayer + Pretend. It’s contemplative
(they call it “literate”) indie-rock that’s dominated by bright,
melodic vocals with lush backing instrumentation and
percussion.
The slower songs, like the Hammond-driven “The Be All
End All” were the first to stick out. It sounds like a combination of mostly modern indie rock influences, but with a sense
of history. At times it nods toward Talking Heads earnestness
and the Cars’ catchy choruses. This comes together most
clearly in the longer songs, like “Double Predestination,” a
collection of straightforward riffs that winds through the
best things about The Atari Star. Their previous records have

alternated between a more melodic, guitar-driven sound
and keyboard-heavy ballads like “The Be All End All.” This
record covers both bases well. It didn’t grab me as quickly as
some of their other efforts, but in the end it is probably their
most complete and balanced record to date.
Johann’s Face Records

Aughra & Mosh Patrol

Is There Anyone Else Outside? (Split)
This split features the first proper CD output for two
ambient side projects. Aughra is Brent Eyestone, from Forensics/Corn On Macabre/Magic Bullet Records and Mosh
Patrol is Chris King from This Will Destroy You. The record
starts with four very different tracks from Aughra. “Always
Oversleeps” opens the record with lush, minimal synth lines,
which remind me of a number of Kranky artists. Next is
“Dog Years,” a piano and drum-dominated track that harkens
back to early Mogwai if you were to eliminate the wall of
guitar noise. “A Bluff Carried More Resolutely Through to
the Final Limit” is the longest and most ambient track on
Aughra’s side. It’s a slow, quiet buildup that sort of drifts by
with quiet, slow strings. He closes with the loudest song on
the split. It starts off as a clicking, hissing nod to Tim Hecker
or even Hrvatski. Then, it slowly melds into a combination
of most of the sounds used in the previous tracks, with slow
drums, synth and string lines and haunting piano. Aughra’s
four tracks are all over the place, but do maintain a common
tempo and feel.
Mosh Patrol contributes seven tracks, though they’re each
shorter than Aughra’s, with only one over four minutes. Each
covers more traditional IDM ground, with nods to Aphex
Twin or Chris Clark’s angularity to the lush synth and drum
machine work of Greg Davis or Boards Of Canada. The delicate melodies remind me at times of the layered guitar work
that makes This Will Destroy You stand out. It’s presented in
a much more cold, stark way than any TWDY material, but
the layering and melodies are similar. The lack of percussion
on “The More Things Change, the More They Stay the Same”
makes it the most soothing and quiet track here. It’s also one
of my favorites. Next is “Paper Airplanes,” which showcases
stark, crackling drum machine work. Thanks to a catchy,
recurring synth line, it’s also the most immediately effective
track on the whole split.
Aughra and Mosh Patrol each contribute solid and varied
takes on ambient electronica, without relying too heavily on
one set of sounds. The result is a solid and dense split, which
does a great job of showcasing the alter-ego’s of two strong
guitar-based bands…
Magic Bullet Records

The Autumn Project
A Burning Light

I wasn’t sure what to think of The Autumn Project when
I first took a look at the CD. It compares itself to Godspeed
You Black Emperor!, Isis, Explosions in the Sky, Mogwai, etc.
Those are some lofty goals in a genre that’s not an easy one
to pull off. But, The Autumn Project nail it. This is a phenomenal album. Any words that I may write to describe A
Burning Light would not do it justice. Deep textures permeate this disc from start to finish. It begins with “At the Feet of
Sleeping Giants,” an epic almost 15 minute meditative trance.
It starts slowly, agonizingly slowly – almost three minutes before you hear more than just the keyboard atmosphere. The
ambience created by the keyboards is awesome, and truly
gives the listener the image of being near sleeping giants. Just
over halfway through the song, the giants begin to awaken
one by one, stretching their colossal limbs skyward. The song
fades into “Across Mountain Tops to Broken Bridges”. This
track is fantastic. It has a very intriguing march beat that
blends the atmospheres and separates the song from its predecessor. This is also serves as an intro (yeah, an almost 11
minute intro) to the next tune, “Between the Smoke and Mirrors”. This is the consistently heaviest tune on the album, and
the shortest at just over five minutes. “Between the Smoke
and Mirrors” gets the blood pumping from the prior meditation-inducing tunes. We end with feedback and noise on this
one, which fits perfectly. “We Cast these Shadows” comes in
second to last with a slow strum of the guitars. This is the
longest tune on the disc, clocking in at over 17 minutes. It
is also among the most beautiful atmospheric songs ever
performed. When you listen to this song, chills run up and
down your skin. We close with the title track, a fitting end to
the journey; meandering past the giants, across the tundra,
through the mist and wasteland, and finally home.
A Burning Light is one of those albums that you never
expect to grab you the way it does. It seems like background
music until you find yourself suddenly awed by its melodies
and textures. It’s fantastically organic, deep, penetrating,
and mesmerizing. The promo sheet says that these guys use
original film projections filmed and edited by the drummer/
keys/textures/originator Mike Gustafson. I can only imagine
the beauty he has created with the images that coincide with
the music. Each track is perfectly named for the images it
inspires within the listener. The liner is fitting as well – very
minimal, but gorgeous just the same. This is an absolutely
amazing album of ambience, texture, and soul. Don’t let this
one pass you by. [Review : Pat Dixon]
Deep Send Records

Bad Astronaut

Twelve Small Steps, One Giant Disappointment
This is the third, and final, Bad Astronaut record. Bad
Astronaut was started by Lagwagon vocalist Joey Cape and
original Lagwagon drummer Derrick Plourde. The lineup
also features bassist Marko 72 (Sugarcult) and producer
Angus Cooke on guitar. The band worked on this record off
an on for more than three years. Cape was busy with a resurgent Lagwagon, while Marko was busy with Sugarcult. After
recording roughly half the songs that would end up here,
Plourde took his own life in March of 2005. After a break,
Cape decided to finish the record he and Plourde had started
as best he could. The result is pieced together, mostly from
Plourde’s original tracks for the record. Some of the songs
were reconstructed to fit the existing drum tracks, while a
few had to be supplemented and edited.
Though it was obviously put together under difficult circumstances, the result is hard to argue with. Bad Astronaut
has always been much more mellow and introspective than
Lagwagon. And frankly, it’s a much more natural use for
Cape’s vocals than Lagwagon’s cut-time punk rock. Twelve
Steps... is a more explosive and deep record than the already
solid records they put out a few years back. The songs are
still fairly simple, but much more dynamic than you’d expect
for the style. Songs like “Stillwater, California” and “Best
Western” are mid-tempo indie rock songs with country
influences, but with huge classic rock dynamics. Meanwhile, songs like “Minus” and “San Francisco Serenade” are
melodic ballads of the highest order. On the other end of the
spectrum, “Autocare” and the opener, “Good Morning Night”
land much closer to Lagwagon’s time-tested formula.
The back-story to this record is hard to ignore, just as the
members’ other projects always have been. But aside from
all that, this is not only the best record the band have put
together, it’s also the most dynamic and complete release that
any of these guys have been involved in.
Fat Wreck Chords

Battlefields

Stained with the Blood of an Empire
Let’s face it; Battlefields’ debut doesn’t take long to fall
directly into the post-Neurosis epic metal category. In fact, it
takes little more than a minute into “Tides Upon The Crescent City”, the eight-minute opener. The bulk of the 33 minutes these four songs gobble up fall into one of two extremes.
There are a lot of slow, methodical build-ups, which more
than earn comparisons to Red Sparowes. The rest is made up
of much more jagged and straightforward riff-based sections
with more conventional, almost black metal elements. Where
these two extremes meet tend to be the most memorable
sections of the record. Thankfully, they appear really often.
There are rarely any transitions to speak of between the quiet
and loud parts. Instead, the heavier sections appear almost
out of nowhere to the uninitiated listener. But, after a couple
spins you can really feel them coming, despite obvious clues.
The end of “Intimations of Antiquity” is the best example
of this. Little more than a minute into the song, lush guitar
echoes and slow drumming suddenly give way to Botch-like
metal-core. The slowdown after it is about as gradual as anything on the record, lasting all of about thirty seconds.
Everything about these four songs is epic in its scope
and completely abrupt in its delivery. Both of these defining
elements of Battlefields’ sound land them solidly in a well-defined (and recently expanding) sub-genre. But they also help
to make this exactly the sort of extreme, uncompromising
example of epic, slow motion metal that actually sticks.
Init Records

agery. “Whaleback” is a stuck with the past confessional -- an
inevitable of American male songwriting. Where do I fit into
an already existent history? The guitars flip back and forth,
venturing out yet always in tune, and never predictable. The
palm mutes, the stop/starts, the extensive build-ups, they are
the best Jejune opening act I never got to see; building on a
foundation of influences without resorting to regurgitation.
[Review : Sam Sousa]

Self-Released

Big Timber
Alma

Big Timber’s first full length is another great dose of rock,
country, and outright pop. I picked up this Denver band’s
first EP Lean Down a couple years ago while they were on
tour and really enjoyed it. This is truly a big sounding record
with lots of ideas and influences going on everywhere. The
band includes members of Pariah Caste and Murder Scene
Clean Up Team, both of which I had not previously heard
but have since checked out and really enjoyed.
Songs like “Bottom of the Hill” and “Second Fiddle
and Ms. Harlot” are a nod to their alt-country roots, while
“Stained with Wine” sounds REM-ish. All of this ignores
their obvious tendency to whip out tough riffs akin to Bob
Mould, encrusting them into a Mathew Sweet-like guitar
sound. Even through there are several really great tracks
on this record, “The Ghost of Hart Crane” stands out as the
most beautiful and powerfully striking track with its rolling
bass, 60’s pop drumming, and provocative vocal posturing.
The only downfall I find is at times they remind me of that
Tom Hanks movie band The Wonders (or is it The Oneders).
Yet songs like “Greener” and “Tinkering Time” introduce a
great roots rock rendering of the snotty late 90’s pop punk I
loved as a teenager.
Big Timber twists between what sounds like the poppy
Americana they want to play and the more aggressive nature
of their past musical projects. Do not be confused by the
comparisons to the aforementioned acts, they do this all on
their own with their own take on what it means to play good
fashioned rock and roll. [Review : Jason Zabby]
Not Bad World Industries

Billy Reese Peters
Almost Heaven

Get the tap out and call your buddies, the party album
of the millennium has arrived. Sweaty, beer drenched, uptempo punk makes Peters the coolest fucking band I have
heard since the turn of the century. Nothing slows down the
gruff croon of Aaron Lay as he dreams of ‘smoking reefer’ on
“Mexico.” On “The Night that ‘Dude’ Became a Four-Letter
Word” or the CCR cover “Traveling Band” Peters toss in
horns to spice-up the mix behind the steady drums and distortion friendly guitars. “F’ That Crap” and the civic pride cut
“Boner City Limits” are juvenile anthems that work because
they never even begin to take themselves seriously.
Reminiscent of the loose lack of self-awareness in punk
that ruled the nineties, Almost Heaven begs me to have
friends over to blast this record for. “Cold One” is the best
punk drinking anthem since “Beer for Breakfast.” Lyrics like
‘Are you ready for a cold one, said a tall fucking cold one,’
make it impossible to not absolutely love this band. Yes, I
want a cold one, and I don’t even like beer, but fuck it, this
record rules and I’ll drink to that. People rant on and on
about the scholarly decadence of recent bar bands, but Billy
Reese Peters is the best bar band in the world. On any given
night in any given town this album could be tearing it down,
pint by pint. [Review : Sam Sousa]

No Idea Records

The Bell County Silence
Surgery (CDEP)

This is nineties emo if I’ve ever heard it, from the drawing of the lonely man on the cover to the book style insert,
complete with song lyrics as chapters. Suddenly I’m in my
teens again, people are reading books in between sets and no
one has a fucking camera phone. Hailing from upstate New
York, The BCS has been dropping their emo-tinged style all
over Northeast VFW halls and basements for the past few
years. The songs are loud and drawn out, and only one clocks
in under four minutes. The thundering cymbals and waves
crashing guitars of the title track and the closer “Our Grave”
are reminiscent of The Killingtons or Far; all emotion, all
heavy.
The centerpiece “Feather with the Fire” is the kind of
romantic ballad that is vacant from the underground, just
vague and blameful, a missed moment from which to recover. These days, it’s mostly he said/she said and violent im-

Black Elk
Self-Titled

Once in a while, when you see a band, you get dorked.
You have such a good experience that buy the t-shirt, put a
sticker on your laptop and put their song on your MySpace
profile. Your friends call you a dork because you fell in love. I
had the good fortune to see Black Elk play live before I heard
the record. I was blown away, and I did all those things.
But a week or two later, I listened to this record and I was
disappointed. The immense walls of sound that felt as though
they were collapsing on me in every song at the 15th St.
Tavern didn’t translate to this recording. Their loose playing
style, which almost sounds like improv live, sounds more
like imprecision on the recording. You certainly hear their
invention, but you miss out on the power. If you get a chance,
see Black Elk play.

If you played a Botch 45 at 78 rpm, you’d have a good idea
of what Black Elk sounds like. (Maybe there’s no such thing
as a Botch 45, but the point stands.) These Oregonians manage the same sonic density as their Seattle predecessors with
half as many drums and strums.
Whatever tempo they utilize, metal bands with one guitarist tend to sound the same in a few ways. There’s no rhythm
guitar to carry the melody, which means no solos, so the
flash and frazzle has to appear in riffs. Plus with only three
instruments working, nobody gets a chance to slack. Because
everybody’s so exposed on the recording, they all have to be
interesting all the time. And that’s certainly what’s going on
in Black Elk’s case.
I hear Faith No More in this mix too. Part of it is quirky
singing and the semi-ironic lyrics. “I’ve got myself an
eyebone / I bet you’ve never seen one of those,” he writes on
“Eyebone,” which is probably the best track on the album.
Also, Black Elk writes metal as though it hasn’t been done
before; like all their riffs and their song structures are fresh
and original. Which they’re not. But it makes them sound
committed and sincere, and that goes a long way. [Review :
Michael Flatt]

Crucial Blast Recordings

Boduf Songs

Lion Devours the Sun
Giving voice to bleakness through folk music is hardly
a novel enterprise, but don’t tell that to British songwriter
Matthew Sweet, a.k.a. Boduf Songs. It might just send him
over the edge. His sophomore Kranky release, Lion Devours
the Sun, employs ragged picking, hollow drone and intimate
vocals to paint a picture of spiritual desolation.
That’s what I hear, anyway. There’s supposedly an alchemical
subtext to Sweet’s songs, but to these ears, they simply sound
weary. “Black flies breeding / Weaving deep, deep,” he sings
on opener “Lord of the Flies.” In addition to the necrotic lyrics, the song’s out-of tune guitars and buzzing tones convey
the perfume of decomposition.
Like such somber folk classics such as Bonnie “Prince”
Billy’s I See a Darkness, this record is meant for solo listening,
preferably on overcast November afternoons. But this disc is
even more cheerless, largely owing to Sweet’s vocals, which
are delivered in a sepulchral baritone that barely edges above
a whisper. Anyone with seasonal affective disorder would be
advised to stay far, far away. [Review : Stirling Myles]
Kranky Records

Book Of Maps
II

The off-kilter urgency in the introduction to “If You Ever
Hear Anybody Say Rulocks, They Got it From Us,” the opening track is immediately refreshing. It reminds me of many
of the more angular and loose post-hardcore bands from the
mid-90’s. Think Garden Variety or Vitreous Humor, mixed
with elements of more recent fellow Portlanders Menomena
(especially the first record) or even Life At These Speeds.
Stop/start rhythms, winding and haphazard guitar and bass
riffs and melodically shouted vocals deftly bridge the gap
between the two eras.
There is an obvious sense of humor behind everything
Book Of Maps does, with song titles like “Freddie Mercury
Equals Who?” then later “Freddie Mercury Equals You” or
“Evander Brolyfield vs. Riddick Browe.” While they don’t take
themselves overly seriously, it’s hard to write this off as some
novelty band either. The songs are pretty long and involved,
especially considering the reckless energy they each posses.
Over half the nine songs here break the five-minute mark,
and the record as a whole covers almost 50 minutes. The
longer songs especially tend to have carefully and tastefully
extended sections, which are rarely long-winded or unwarranted.
One of the constant things about II is the perfect balance
it maintains between loose, haphazard parts and songs
that are obviously deliberate and carefully constructed. It
never goes too far toward the realm of sloppy or amateurish, but the playing and production maintain a refreshingly
unpolished feeling. Some spots, like the end of “The New
Jim Jones” display impressive chops, especially from the
drummer. The crucial point for many records like this one
tends to be where loose energy meets sloppy execution.
Thankfully, Book Of Maps manages to land just on the right
side of the tipping point. The result is a slightly hidden gem
in my review pile, which is more than a little refreshing from
beginning to end.
Whoa Boat Records

Brainworms

Which is Worse (LP)
This LP collects two different recordings, a studio
recording on side A, and a live demo on side B. A few of the
songs appear on both sides, though it’s still a lot of different
material in one place. Brainworms are from Richmond,
and the band features current or former members of solid
Richmond bands like Ultra Dolphins, Stop It!!!, and a third
band I haven’t heard called Are You Fucking Serious. Their
sound is choppy, but oddly melodic hardcore with shouted
vocals. The guitar riffs pass at a frantic pace, often stacked on
top of one another in a haphazard way. The result is urgent
and melodic in an often strange, indirect way. It reminds me
of the early Ultra Dolphins releases, though a bit less jagged
and angular. The rhythms especially are straightforward most
of the time, though they do have their share of stop/start
sections. This takes the spirit and energy of Born Against or
even Swing Kids, and adds a much more melodic feel. There
is a big difference between melodic and poppy. The guitar
parts especially are often melodic, in a sort of loveably mismatched way. But you could never call Brainworms poppy in
any real way.
As expected, the later recording on the first side sounds
considerably better. But the less than optimal recording
quality on the live second side isn’t too terrible, considering the band’s sound. It’s worth checking out, though you
could maybe get by with checking out the first side. Either
way, it’s a solid and well-executed dose of energetic, frenetic
hardcore, presented just the way it should be.
Rorschach Records

Burning Skies
Desolation

From the first few moments of the second song on the
album, “RKD” you can quickly figure out where this disc
is headed. It’s going to pound itself through your skull and
make you cry like a little girl. These guys have a great mix
of The Red Chord, Cephalic Carnage, and what Diecast
has tried to do in the past. This of course is not a negative
statement and Burning Skies do this incredibly well. It’s
fast, heavy and catchy at the same time. There’s something
for everyone in here; straight ahead pummeling hardcore,
slow breakdowns and a grindcore aspect to things. In short,
this mixes several genres of my favorites together flawlessly.
These guys are tight musically, and make some good ol’
fashioned ass-kickin’ music. “The Sweet Sound of Violence”
indeed.
This is certainly not what I expected reading their bio.
These Bristol metallers have been around for a while, but
really came to find their sound with the addition of the latest
guitarist/screamer. I must say, they’ve done a bang-up job
with it. “Bauer Power” is my favorite tune on the disc. I can’t

help but think this is named after the 24 character in the pure
violence and ass kicking it entails. Check this out if you like
The Red Chord, Cephalic Carnage, Lamb of God, etc. [Review
: Pat Dixon]

Life Force Records

Che Arthur
Iron

“I feel the same / as anyone who’s dealt with this and I / I
hear the words / of anyone who’s felt this loneliness.” Those
are the first words of this album, from the track “Dead Trajectories.” Some might call that “embarrassing.” I would.
The press release proudly states that the album, entitled
Iron, is the work of one man who plays every instrument in
every song; singular vision. Here’s the thing about singular
visions: when they start go off-track, there’s nobody else to
help steer it back on a respectable course. So the album has
decent moments, but it also plummets helplessly into vast,
vacuous caverns of amelodic self-pity. “The album is the
product of three years of writing, recording and touring,” the
press release also states. Three years to provide the insight,
“No one ever put out fires with kerosene, yeah,” on the track
titled “Kerosene.” Three years? If ever the phrase “beating a
dead horse” was appropriate, it is now.
To be fair, the first track, after you get past those lyrics,
shows promise. The chorus is catchy and he’s got the midtempo alternative sound going full-tilt. As mediocre and
common as the sound is, he’s got that shit down for about a
minute. But then Arthur’s inability to carry a tune takes over.
And then it’s gone. The best part of the album sinks under
the horizon and you never see it again.
Then it gets so bad, you can hardly bear it. “The Dark
War” is actually the worst song I’ve heard from a band on a
label. It sounds like the hidden track on this Staind album I
had in high school. Only worse. At least Aaron Lewis had a
nice voice. But Arthur tops even Lewis in the somebody-slitmy-wrists-for-me-because-I’m-too-depressed category. “This
anger could consume me / What are these struggles proving,
/ beyond our willingness to lead these lives less ordinary?”
This is sung in the low voice of a man who still can’t find the
right notes, even though it’s the same vocal melody for four
minutes.
I hope for Che Arthur’s sake that nobody hears this
record. Then, when he takes another three years to produce
another work of “fierce individualism” he might be able to
convince someone that his music is worth marketing.
The worst part is that I’m probably way off and this atonal
heap will probably sell like Wet Naps at a peep show and
be lauded for its confessional quality, its Travis Meeks-like
multidexterity and range.
In the words of David Cross, “I would rather hear the
death rattle of my only child.” [Review : Michael Flatt]

Sickroom Records

Clinging to the Trees of a Forest Fire
Harmonies from Bleeding Mouths (CDEP)

These Denver grinders play ridiculously fast. The disc
starts off screaming, and actually builds up from there.
“Loathing in the Key of A” starts off our seven-song, ten
minute EP, with none of the tunes breaking two minutes.
Indeed, most are really close to the one-minute mark, and
bring forth a devastation that is key for grindcore. Clinging
to the Trees of A Forest Fire is primal, fury driven grind executed surprisingly tightly. “Hollywood Cowboy” is our next
tune on our journey through the first gates of Hell, followed
by the technical intro of “Adna”. “Adna” has a crunch in the
middle that just makes me smile. “Crossing the Gasoline
Sea” is a ballad – of destruction (up high!). These four dudes
have some definite potential, and are a band that is surely
going to get a lot of attention in the next few months/years.
Fast, technical, nasty grindcore is the name of the game, and
Clinging to the Trees of a Forest Fire can do it pretty damn
well. Produced by Dave Otero (Cephalic Carnage, Planes
Mistaken For Stars, Summon, etc), Harmonies From Bleeding
Mouths is a triumph from start to finish. [Review : Pat Dixon]
Self-Released, www.myspace.com/clingingtothetreesofaforestfire

Cut City

Exit Decades
Sonny Kay’s GSL Records has been notorious for its
output for quite a while. The label offers a diverse smattering
of bands that, for better or for worse, are continuing to push
every envelope that we know of in independent music. This
Gothenburg, Sweden trio is no exception. Their first EP came
out on GSL in 2004, and now they are back with this full
length that seems nothing if not Joy Division and Interpolinspired.
I often have mixed feelings about this sound, but Cut
City seems to pull it off in this inexplicable way. It has an
abundance of catchy moments, the entirety of “Manoeuvres,”
for example. If I could put my finger on what makes this successful, it might be the lack of dour lamentation. This almost
seems like the record Joy Division would have put out if Ian
Curtis feel really deeply in love and started taking Prozac.
The more I listen, the more this analogy seems apt. Most
of what the opponents of that hipster post-pop sound despise
is that pretentious melancholy that Interpol seems to coat
their records in. Cut City, however, eschews such self-obsessed ramblings in favor of almost anthemically infectious
tunes like “Numb Boys.” The reverb and mid-heavy EQ is
still present on the vocals, but they relate an emotion that
is much more appealing than Interpol’s dour ballads whose
meaning I can only surmise is inspired by singer Paul Banks
having gotten mascara in his eye.
Truly, Interpol could take a lesson from Sweden’s Cut
City. Both acts are admittedly unabashed borrowers from Joy

Building Better Bombs
Freak Out Squares

Freak Out Squares is the inaugural full length from this Minneapolis band, which is the side-project for P.O.S. As the guitarist and singer in the band,
you’d never guess that P.O.S.’ day job is as one of the most rightfully hyped M.C.’s in independent hip-hop. Building Better Bombs is a frantic and all over
the place take on melodic punk rock and choppy post-hardcore. Every song here goes right for it, in terms of energy, tempo and ideas. They pack a lot
into every song, with super melodic guitar lines that perfectly compliment each other. The vocals are shouted and haphazard, but still well sung most
of the time as well. The whole thing reminds me of a much
more confrontational and involved version of Scared Of
Chaka, with the frantic, bouncy rhythms of The Exploder.
“No Hospitals” is an obvious highlight early in the record.
A fast, bouncy rhythm leaves just enough space for alternating vocals between the band members during the verse and
guest vocals from The Soviettes’ Annie Awesome in the
chorus. Like the whole record, this track especially is never
exactly “poppy,” but usually melodic and always energetic. It’s a difficult balance, but every song on
here strikes it perfectly. “Kid Tested, Motherfuckin’ Approved” is another of the standout tracks. With
an even more prominent back and forth between the guitars, which balances a heavy-handed lead riff
and an acrobatic rhythm part. Both of them mash the best things about the punk rock of a decade or
so ago, and the more involved (but no less immediate) indie rock of today.
For the styles that Freak Out Squares simultaneously represents, it’s a perfect and refreshing
throwback and leap forward at the same time. Energetic and melodic, but never cheesy, then involved
and complicated but still immediately appealing. This packs in most of the things that originally drew
me to up-beat guitar music, as well as the things that kept me interested in it years later. How it happened, I have a hard time explaining. But if you’re half as burned out on punk rock’s recent past as I
am, this isn’t a bad first step on the road to recovery. On first glance, the scope of these songs is fairly
limited. But on a closer examination it’s hard to even find any limits to them. Where the hell has this
record been the last few years?
Init Records

Division, but Cut City does it incredibly well, adding an energetic element. Because of this, there seems to be a great possibility that Cut
City could quickly climb the ranks of GSL’s already well-established
bands. Their successful mix of catchy dance tunes (“Such Verve”)
and well-designed soundscapes (“Just Pornography”) doubtlessly
earned them their place among GSL’s prestigious pedigree, and this
will certainly be a band to follow.
In all honesty, I would like to see what a band this promising
could do with a bit more of a departure from the Joy Division
influence, but then again I’ve always been a strong proponent of
the “Wearing Your Influence on Your Sleeve is Fine, Provided it’s a
Legendary Band” school of thought. Clearly, Cut City are too and up
until now, it’s served them well. Indeed, very well. [Review : Nick Cox]
GSL Records

Damezumari

Hitheringandthitheringwatersof… (CD/10”)
Buried at the bottom of the package labeled “New Scheme” was a
non-descript 10”. The poster board cover, a blurred forest of grays &
blues, I pulled the vinyl from the sleeve. Both labels were the same, I
couldn’t tell which side was A. I stared at the inside lines and find a
small clue, I lay the record down, then the needle and the melodica
begins to hum, my jaw hits the floor. They waste no time, ‘What a
Wise Man Knows,’ rolls right into an off-time pounce, Eric Titterud’s
guitar picking with train track drumming by Craig Maricle; shouting
over steam engine cymbals, chopping and churning. “Groundhog
Day” is jazz infected, taking one too many beats of the rolling
snare. A vocal cued ride; shouts and spoken word to a dead silence,
Chris Skillern’s bass stations itself upon the neck. A crashing wreck
pondering regrets, existence, and whether this day could be the “best
of my life.”
“ALP Prefers the Sea” is math-rock pulling to a point and turn,
Titterud’s spoken voice decrying the modern world. The guitars play
back and forth, Skillern’s bass an anchor, never too heavy, always
holding still. “Private Place of Peace” or autonomous ground on
which “to sell myself,” we are a “continent with swirling winds.”
Maricle’s snare cracks up, “All Truisms” is the destination, the swift
string strikes and hi-hat flare to thunderous questioning “of everything I do.” Is what we do only in relation to what we gain? Quiet
sets in, the chopping palm mute, “My actions are never clear.” All of
it building to a ‘Second Chance,’ a rolling throb leads to the notion,
“The world is what you make.” A soft melodica break, like the most
somber moments of “A Love Supreme”, subtle and demanding, a
shout and a demand, a declaration “We make ourselves by who we
love,” spacey guitars and toms carry us to the end, an undetected
bass vibration walking us home, “it is a glorious thing to live and let
live,” and it all collides.
Damezumari harkens back to a time of honest screaming music,
without a doubt one of the best bands going. Dig It!!! [Review : Sam
Sousa]

Sticky Translucent Goo Records

Das Oath
Self-Titled

Hailing from New York, Das Oath play a mix of straight-faced
thrash and more choppy hardcore that you’d expect from their San
Diego-based label. They tear through seven tracks in barely more
than ten minutes. There’s an obviously frantic and jagged feel to
every second of the record. But they don’t dive directly onto any
traditional sub-genre completely. The playing is tight, though generally pretty straightforward. But the direction of the songs isn’t easy
to predict, with a lot packed into most of them. “Scrapped” is one of
the most ominous tracks, with a slightly slower tempo. It’s the first
one that really pulled me in, and is a perfect choice to be the second
track. The noisy and surprisingly intricate “The Terror, The Delight,
and The Unendurable Pointlessness of Trying” is another great introduction to the band. It’s the best example here of the number of ideas
Das Oath can pack into a short time span. The song runs almost
the full gamut of this releases’ hardcore and noisy rock influences,
in one second shy of a minute. The last two tracks are downright
epic by Das Oath standards, at more than two minutes each. Both
mix snotty vocals, powerful and echoing bass and frantic guitar
riffs with chaotic, but never sloppy drumming. “Years Of Veneers”
especially works in a way that reminds me a bit of early Blood Brothers’ strongest moments. It’s not surprising to me that these guys just
embarked on a tour with Ampere. Both bands land firmly within the
loose confines of modern Northeastern hardcore, while poking at all
of the genre’s outer boundaries at the same time.

Three One G

Stephen Brodsky’s Octave Museum
Self-Titled

Clouds

Legendary Demo

Zozobra

Harmonic Tremors
After their universally disappointing major label debut (Antenna in 2003), Cave-In put together a
somewhat overlooked, but much improved follow up with Perfect Pitch Black in 2005. When inevitable burnout set in shortly after that, the band went on the now oft-cited “indefinite hiatus” last year.
Not surprisingly, all three original members of the
band have returned, each fronting separate projects.
Cave-In singer and guitarist Stephen Brodsky’s
Octave Museum, guitarist Adam McGrath’s Clouds
and bassist/singer Caleb Scofield’s Zozobra. All three
chart very different courses, starting from separate
corners of Cave-In’s varied sound and ending up at
very different places.
Cave-In frontman Stepehen Brodsky is the
member least new to the side-project game. He has
released a handful of solo records over the years,
though this is his first under the Octave Museum tag.
Right away, it’s obvious that this is a much more melodic and warmer release than anything he’s previously done. Tracks like “Sentimental Case” and “Swingin’
In The Sky” sound like a much more straightforward
and melodic version of the songs off Jupiter. But most of the record is a bit darker, with standouts like
the slow developing but catchy “Red Headed Butterflies.” “Kid Defender” is similar, with an acoustic
guitar and drum-driven base for one of Brodsky’s best vocal melodies in years. His effort is by far
the most varied effort of any of the three, and it succeeds in each of the things it attempts. It’s not as
experimental as the hit or miss material on his earlier solo releases, though it is still more adventurous
than most Cave-In material. It’s solid from beginning to end, with more than enough twists and turns
along the way to keep from getting old, even after numerous listens.
Clouds’ inaugural release begins with straightahead and unabashed 70’s psychedelia that is in
fast-forward, both technically and tempo-wise.
McGrath’s guitar work is prominently featured, but
in small bursts. The vocals are solid, though pretty
far back in the mix, which suits the style well. The
rhythm section especially reminds me a bit of Hot
Snakes’ frenetic energy. But the duel guitars are much
more blatant in their love of classic rock in a way
that reminds me a bit of a less heavy version of An
Albatross or a less reckless Estrus band. Of all three
records, Clouds contributes the most straightforward
from beginning to end. It’s well put together overall
and makes up what it lacks in variety with consistently solid execution.
Cave-In bassist Caleb Scofield has teamed up with
drummer (and fellow Old Man Gloom conspirator)
Santos Montano to create Zozobra. It’s far and away
the heaviest of these projects, which isn’t a huge surprise, as Scofield had taken over the screamed
vocals for Cave-In. Though rough vocals, bass and drums are all clearly dominant in many of the
songs, there is a lot of guitar work as well. The band is a strong, standard four-piece live, but I’m not
sure if Scofield and Montano had guitar help in the studio, or did it themselves. In just the five and a
half minutes of “The Blessing,” the opening track, Zozobra covers a lot of ground. From slow, sludgy
metal-core to dissonant guitar and bass noise over bouncy drum lines, they throw down a serious
gauntlet. “Levitate” is a lighter, more dissonant track, which showcases much more melodic vocals
and a slower tempo. The huge, echoing drum sound works perfectly and helps make it a definite
standout moment. The faster, but equally melodic “Soon To Follow,” and the uncompromising metalinfluenced “Invisible Wolves” are also really strong tracks. There aren’t a ton of gaps in the energy or
execution from beginning to end, and Harmonic Tremors is definitely a release to look out for. More
than the other projects mentioned here, Zozobra seems poised to make a mark as much more than a
new Cave-In side-project.
All three records, which came out at almost the same time, represent a varied picture of the talents
within Cave-In. Each of the records expands on a different aspect of Cave-In’s sound over the years.
Stephen Brodsky’s project explores the more melodically orchestrated side, while Clouds features
much of the classic rock and roll elements explored on Jupiter. Zozobra’s is perhaps the most similar
to Cave-In, especially on Perfect Pitch Black or even Until Your Heart Stops. I guess it shouldn’t be a
surprise then that Zozobra is my favorite record of
the three. I’ve always admired Cave-In’s versatility
and dark catchiness, but I’ve always liked their most
intense output best. Even then, all three are worth
looking into for very separate sounds, but similar
reasons.

Hydra Head Records

Dear and the Headlights

Die Die Die

I have to admit that I was pretty averse to even listening
to this when it first arrived, due to the horrible band name.
I was pleasantly surprised when I finally did put this in,
and not just because their name caused me to set the bar
so low. It’s hard not to notice the familiar feeling to their
straightforward songs. They combine melodic indie rock and
basic Americana, in an unsurprising, but rarely predictable
manner. It’s hard to nail them down to any one band that
they sound just like. At times, Matt Pond, PA comes to mind,
especially on the standout “I’m Bored, You’re Amorous.”
The vocals are the defining thing that makes most of the
songs work. They are super catchy, though thankfully not
sickly sweet. The occasional piano-heavy tracks are the first
to really standout, especially “It’s Getting’ Easy.” But in the
end, my favorites were the most straightforward rockers.
“Sweet Talk” is a good example, which is one of the fastest,
shortest songs on the record. “Run In The Front” is a midtempo track with a catchy chorus, which quickly became
a guilty pleasure. In some ways, I want to simply call this
Dashboard for the post-pubescent, though that would sell
this record short somewhat. It’s hard not to recognize the obvious nature to most of what Dear and the Headlights do. But
it’s also hard to ignore that it’s an obviously strong record.

Going in, my expectation of what this debut full length
would sound like was completely wrong. Reading the press
sheet, which touted their tours in support of Wolfmother,
Franz Ferdinand and Wire, I expected another band from
the southern hemisphere (NZ in their case) performing their
take on the faux garage thing that is so popular these days.
You know, denim and scarves.
There is an intro featuring a slow, pounding drum beat.
After that the album goes in a clear opposition direction
from what I had been ready for. The best way to describe
this record is a toned down version of Blood Brothers circaThis Adultery Is Ripe. At a considerably slower pace, they
duplicate the core foundations of that late 90s scream-core
sound. Jagged, sometimes awkward sounding guitar riffs,
sharp drum beats, and irreverent bordering on whiny vocals
that deliver repetitions of a few basic lines. The majority of
the album adheres to this blueprint. The last song is sort of
an exception, as it has a more dynamic/melodic feel with
a consistent guitar part throughout and a comparably well
integrated vocal track. As is a trademark of the genre there
are plenty of odd, maybe even tactless, pieces of beeps,
boops, distortion, and other noises sprinkled throughout.
These don’t necessarily stick out like a sore thumb, but they
are kind of weird. You find yourself thinking, “What? Why
would you put that kind of noise in the middle of this song,
for no reason? Not building up to or accenting anything?” If
you like these bands, or think that you would like a slower
version of stuff put out by Post Office Gals or Since By Man
you will probably like this. There is nothing egregiously bad
about Die! Die! Die, nor is there anything captivating about
them either. [Review : Andre Medrano]

Small Steps, Heavy Hooves

Equal Vision Records

Del Rey

A Pyramid for the Living
This needs to be next record that you get. Please get
out of your house and get this record!! A Pyramid… is the
sophomore release from this well-established Chicago band,
and you can easily tell that have been playing together for a
while with the lucid and seamless transitions that take place.
This album takes its time, knowing you will listen to each
twist and turn that it makes. The song structures fluctuate
from dreamy soundscapes with mellow guitar harmonies and
strong backbeats, to searing accelerations of all of the instruments joining together for monumental and well-orchestrated sections that remind me of the elongated drones of
Tool. This is a wonderful album that requires multiple listens
only in order to catch the small and wonderful things that
are easily overlooked. [Review : Stirling Myles]
My Pal God Records

Dialogues & Kids Explode
Split 7”

I try not to be biased towards 7” releases, since I get so
few of them to review anymore. But it’s hard not to feel like
this one in particular is a pretty ideal version of what made
the split 7” such an important step for lesser known bands.
Both Dialogues and Kids Explode are similar bands, with
styles that harken to the days in the late 90’s when this format
was in its prime. Dialogues are from Harrisonburg, Virgina,
and have a sound that reminds me of gritty, but melodic
post-hardcore that reigned during the mid-90’s. Garden
Variety come to mind initially, with super melodic guitar
and bass lines that mix perfectly with gritty (but still catchy)
vocals. “Six Packs None The Richer” is my favorite of their
tracks, as well as the best on the split. It alternates between
loud, choppy riffs with shouted vocals and lighter moments
that remind me of the first Mineral record. It’s exciting and
refreshing to say the least.
Kids Explode are a band from Freiburg, Germany, though
their sound falls even nearer to the American Midwest than
Dialogues’. Their sound is a bit more measured and midtempo than Dialogues’, though the feel and tone is similar.
They combine the anguished shouting of early Dischord
with the partially obscured catchy melodies of Cap’n Jazz.
The dual guitar lines about halfway through their lengthy
track also remind me of “Clumsy”-era Samiam. Like their
counterparts in Dialogue, they offer a refreshing, anxious
and excruciatingly refreshing blast of everything I miss so
much lately about indie rock (or “emo” when that meant
something). And they offer it in the format it was always best
delivered in.
Hunt this down.

Rome Plow Records

Self-Titled

S.A.F. Records

Die Hoffnung
Love Songs

With Pung, I Hate Myself, & Burnman under their belts,
Die Hoffnung marks the return of the brothers Marburger.
Their debut, Love Songs, is a concentrated two-piece effort
with big drums and intricate guitar work. From the out-ofwater & bloody floating fish, to the hanging bats of the back
cover, the album’s artwork suggests a love that is poisonous
or no longer. The soft/hard dynamic of the vocals do the
same as Jim swings from near screams to spoken word,
belting and wailing about how love ‘burns me blind’ and
‘murders families’ on opener “Lovemonger.” On “I Was Born
a Long Time Ago” he wonders whether he will ‘seize this day
or waste it away,’ while the closer “Tour of Bridges” finds him
crooning for the bridges he has built to ‘burn burn burn.’
Yet for all of its emotive release the album avoids the
sappy breakdowns and sparse despair that tend to back
this sort of lyricism. Jon’s drums play like break beats; the
production of Ronnie Cates gives them an expansive audio
field to fill the gaps from having no bass player. While most
duos attempt to fill that bass gap with ambience, Die Hoffnung attacks the emptiness with detailed guitar work. The
riffs of “Der Autounfull” and “Orpheus in his Underwear”
sound like Shape Of Punk To Come-era Refused as quiet to
loud string work plays in emotional cue with the vocals. The
duo attacks the spacious sound by locking in the beat like
a rhythm section; intricate picking shaping straight to-thepoint fills, both free enough to roam, and always on the same
plain. This lets tracks like “With the Fishes” reach crescendo,
a moment of triumph towards the album’s end.
It’s not feasible to see the Marburger borthers’ work as
distinct and separate from itself. The preceding and final I
Hate Myself EP, Roy Sullivan Vs. The Lighening, was without
a doubt their boldest and most coherent work. Love Songs
seems to pick-up in just this place; where Roy... was a man
coming to terms with his destiny in the world, Love Songs is
that same man back in full cynical form. The same is true of
Burnman, their only album under that moniker plays like a
constant condemnation of art, often taking jabs at just how
serious artists tend to take themselves. Yet, like much of their
output it is a back & forth and die Hoffnung rests in the same
place. Its constant indictment of those who see love as an
exploitive emotion gives its title a tongue-in-cheek feel.
A give and take of sharp guitars and screeched vocals allow this record to dabble in serious self-righteousness, while
avoiding condescension. A thin wire to walk, nearly always
dissolved when an artist attempts to make a vast, nearly
all-encompassing statement. Yet for Die Hoffnung, it works.
Lyrics like ‘The cracks in my cuntry breathe fire. White Boys
Will Burn!’, or ‘What bold boys crave, something to slay,
someone to save’ nearly mock emo for its ‘She Can Save Me’
idealism. It doesn’t stop there, ‘What bold boys crave, some-

thing to slay, someone to save’ or ‘Barboys…. would mount
birds barely wooed by a liquor this crude,’ continue to ridicule this generation’s current state of need and attention at all
costs. This level of out right pessimism keeps Die Hoffnung
free from genre restraints, pouncing and plummeting its way
through a dead musical field. Love Songs is a viscous record
that cuts with rhythm and wit, let’s hope it’s not a one-time
offering like it was with Burnman. Buy, burn, or steal it now.
[Review : Sam Sousa]

No Idea Records

Die Princess Die
Lions Eat Lions

It’s obvious within a few minutes that these guys formed
in San Diego. Their stench of early Gravity bands (especially
Angel Hair/VSS) emanates from every pore. That usually isn’t
a bad start, though Die Princess Die have much more than
just a well thought of pigeon hole going for them. First and
foremost, there’s something that’s clearly and genuinely fierce
about their delivery. They also manage a perfect balance
between the angular chaos and new-wave leanings that have
defined many bands before them. They definitely have both
elements, though they use both in a surprisingly harmonic
way.
Feedback-drenched dual guitar parts, acrobatic and
sometimes downright dancy drum beats and dirty, melodic
keyboard parts all get equal time. Sometimes they are all
thrown together, though most of the time going back and
forth. The louder, more guitar-dominated songs also feature
shouted, but somehow catchy vocal lines. Meanwhile, tracks
like the five minute “The Racer” feature a much more obvious new-wave feel, which includes the much more smooth
vocal delivery. They never sound like two different bands, as
the keyboard-dominated tracks are still aggressive in their
own way. Other highlights include the wall of sound on
“Sport” and the all-too-short “Spearhorse” which sounds like
Jehu mixed with Scared Of Chaka. (In other words: pretty
much perfect.)
GSL Records

Dmonstrations

Night Trrors. Shock!
Dmonstrations’s second album Night Trrors. Shock! is
partly exciting. The abrasively angular, two-minute compositions demonstrate an instrumental agility that is just about
fascinating. Nick Barnett and Tetsunori Tawaraya play their
respective bass and guitar like they’re taking something out
on their fingertips. It’s a truly dynamic performance that
comes through on this recording, like they had the opportunity to take these songs on the road for six months before
recording. Despite the frenetic style, they have the ability to
take the tempo way down and keep the chaos going.
With all these great things going for them, however,
Tawaraya’s vocals are definitely working against them. The
album would probably be better if he kept his mouth shut.
He falls into the monotone trap laid by experimental punk.
The moderately interesting lyrics are entirely unintelligable
because he’s usually focused on working the pitch up to his
falsetto shriek, which the listener is treated to at the end of
almost every line. (Occasionally it’s a wavering caterwaul,
but mostly it’s the shriek.) He doesn’t work his vocals into
the music’s mix, just lays them over the top of it. His best
moment is at the end of the album’s finale “Crocodile Brain”
when his gesture of frustration is most convincing.
The lyrics also take a little of column A and a little of
column B. First, a sample from “London Machine.” “Gray
behemoth has forbidden fact / I know there are fourteen
wombs in / engine oil I was jagged on / My cheek cheek
behind castle.”
So they’ve got a taste for surreal imagery. There are some
great, image-producing two-word juxtapositions like “pocket
fang” and “concrete pupas.” The collage in the album art
would seem to support this idea. At the same time, the images are pretty repetitive, consisting of combinations of body
parts, animals, and archetype occupations (ballerina, pilot,
emperor) that are simply mentioned and given no weight.
There are themes of illnesses and mutilation, which are fun,
but they’re just given in snapshots, never contextualized.
To summarize, the writing is smart but ultimately a bit selfdefeating.
Recommended for fans of Daughters, An Albatross, The
Locust, AIDS Wolf and Dmonstrations’s label mates, Die!
Die! Die! [Review : Michael Flatt]
GSL Records

French Toast
Ingleside Terrace

French Toast is a lesser-known Dischord gem from our nation’s capital, featuring original duo of James
Canty (guitar, vocals) and Jerry Busher (vocals, bass), now rounded out by Ben Gilligan (drums). (In spite of
these assignments, it is apparent that at their live shows, the members of French Toast all switch instruments
at will.)
This band touts quite a pedigree, as Canty is known for his work in Make Up and Nation of Ulysses, and
Busher for his work with many acts, including touring with Fugazi and Ted Leo and the Pharmacists.
This record is the quintessential sound of something I can’t just put my finger on. It’s not quite typical for
Dischord, although with the addition of new bands like The Evens, it seems like a few Dischord acts might
be leaning toward this sound, which is a great amalgamation of pop and very mature rock. The majority
of this record plays like what it essentially is, which is a trio of very experienced musicians who seemingly
got together one day with the intention of making no-bullshit, purely good music. Their unabashed pop
sensibilities can be seen all over the record, though notably in “Secrets” and “Settle In.”
On the whole, the songs are well-rounded, and freshly lacking in early twenty-something angst, which,
while it has created some good records, must be grown out of at some point. French Toast thus pulls away
the rehashed, rotting flesh of the indie rock industry and feeds on the bare essence of good music, steering
clear of half-baked political views, ineloquent ramblings on relationship drama, and self-conscious, over the
top guitar solos, effects, and effectively any other distractions, leaving 12 simple, well-composed tracks.
This is not, of course, to say that there is no experimentation on the record. “Brejnev 333,” for example,
opens with over two minutes of pure, raw vocals laid over an ambient musical background. Even past the
two-minute mark, the vocal line is somewhat unexpected. Yet the chorus comes in, and the subtle backing

vocals add an intriguing new side to the already spectacular scope of the track.
In many ways, this record represents the very transition that led many of our generation to diverge from adolescent punk rock circa 1999, in search of something more musically and intellectually challenging. That departure, I clearly remember, was a revelation and gave us a complex new vehicle to express what nearing the end of our teenage years did to us emotionally. If this is the
new post-indie sensation, let’s all take a cue from French Toast when, with Ingleside Terrace, they let us know that less is more, that the simple, well-written pop song is the new, elusive form we’ll
all soon be looking for. That it’s okay to grow up, settle down, get a job and a house. It doesn’t mean that you have to stop making wonderful music.
This is the future of rock music, and I, for one, am all for it. [Review : Nick Cox]

Dischord Records

Earthless

Every Gentle Air

Dave Fischoff

This is the first release from Earthless, which features
Clikitat Ikatowi and later Hot Snakes drummer Mario
Rubalcaba. The band sounds very little like either project,
playing up-tempo and noisy psychedelic rock. It’s part
Estrus-style post-garage and part a sped up, improvised 70’s
jam. Each side of the record features one track, with each one
approaching 20 minutes. The production is surprisingly clear
and the musicianship is really tight for being a recorded live.
Both songs are similar, with all three members going in their
own, half-improvised directions. The result works well, with
a welcome addition of more ambitious, early Japanese garage
rock influences to an otherwise stoner-jam recipe. Both
tracks are really solid, mixing dense and overlapping guitar
and bass lines with more riff-based repetition. The addition
of more adventurous garage influences helps to set Earthless
apart from the glut of somewhat similar Sabbath-worship
bands. It also gives Sonic Prayer a lot more staying power
than so many other bands like them.

It is from this place, named the heart of ugliness by
others, that two men, determined in their creativity, have
endeavored to enlist a veritable army of their friends to join
them in music making. It is brave song in the face of urban
sprawl, note-woven reminders of hope, peace, and glory in
the face of roadway construction. This is not a “band” so
much as an orchestra of unique parts, a horn and string section, marching drums, and vocal choir strung together with
denim, dried leaves, and guitar string. It is from this similar
place of desolation that births a soundtrack of snippets for
any moment of the day and presents a new lens of hope
when witnessing the world in all of its stark and beautiful
moments. [Review : Stirling Myles]

Everything about Dave Fischoff ’s music screams of isolation. He lays wispy, melodic vocals over a wide array of cut
and pasted samples and swirling synth lines. The results can
be chaotic, but also end up charmingly melodic just as often.
Fischoff brings a huge range of sounds and samples together,
in a way that sounds surprisingly cohesive from one song to
the next. He hides almost all his samples by chopping them
into quiet and short pieces, or drenching them in reverb. He
carefully chooses the placement of all the random sounds
he finds, usually using (or at least sounding like) horn and
woodwind lines. “In This Air” is one of the most drastic,
abruptly mixed songs on the record. It’s also one of the most
effective.
A few tracks stand out, like the soaring, keyboard-heavy
“Flip Books”. It’s the longest track on the record, at just over
six minutes and earns every second of it. It starts out like
slow and contemplative new-wave, quickly adding subtly
glitchy electronics. The soaring melodies of mostly European
IDM meet heartbreakingly cold keyboard lines, which are
crushingly sad. But combined with the vocal line, they are
downright catchy at the same time. This song, which arrives
just before the end of the record establishes The Crawl
as much more than another cut and paste laptop project.
Technology made this record possible, though carefully
constructed songs and engaging vocals leave it surprisingly
warm and substantial.
Eat your heart out Postal Service.

Sonic Prayer (CDEP/10”)

Part Two

Gravity Records

The Evens
Get Evens

Let’s face it: the fact that Ian MacKaye is half of The Evens
is going to dominate this review, like it will most every other
one. The project features MacKaye on baritone guitar and
Amy Farina on drums, with the vocal duties split pretty
evenly between the two of them. Their self-titled debut
was released almost two years ago, and slowly but surely
became one of my favorite records of the year. Much like
their debut, this record took more than a couple listens to
really grown on me. But it is, ultimately, as rewarding as their
debut in many ways. The same raw, mid-tempo combination
of gritty folk and contemplative indie rock is present this
time around. There’s something a bit longer and meandering about many of the songs’ structures, which ultimately
makes them more rewarding. It takes several listens for a lot
of the subtle twists and turns to sink in, as well as the slow
motion, deceivingly catchy hooks. “You Fell Down” is a great
example. It’s a song that I hardly noticed the first few times I
listened to this. But now its choppy chorus and rolling guitar
riff get stuck in my head every time I hear it. The lighter “All
You Find You Keep”, and angrier “Everybody Knows” are
more immediate, but no less effective highlights.
This time around, they chose to record these ten songs
themselves, in the basement of the Dischord house. It has
the sound and feel of a home-recorded project, which would
usually be a problem. But because of The Evens’ inherently
simple set of instruments and song construction, it works
perfectly. The consistently dark, slow feel (and pace) of the
record actually benefits from the lo-fi recording. All 40 minutes here are packed with subtle dynamics and just slightly
obscured melodies. The formula is simple, but carefully
developed and works from beginning to end.

Dischord Records

The Crawl

Record Machine

Fake Problems

Spurs & Spokes/Bull>Matador
Against Me! defined a paradigm a few years back, the
natural fit of folk-punk. Digging out from the underground
to the mainstream, left a hole for a million bands to plug,
most notably filled by Defiance, Ohio and Fake Problems.
The former pick up the socio-political conscience while the
latter, Fake Problems, goes directly for their trademark folk,
sing-a-long style. Formed as a solo venture by frontman
Chris Farren, it rolled itself out over the past few years into
an endlessly touring band just on the road this spring with of
all bands, Against Me! The eight-track album is comprised
of two EP’s, the recently released Spur & Spokes and the
re-recorded debut Bull>Matador. Both EP’s lean with an
up-beat old school country tone, built on Sean Stevenson’s
swingy ride and snare.
Opener “Motion of Ocean” kicks off subtle and slow,
marching on with Derek Perry’s punchy bass as Farren
moves back and forth from scream to slight swoon. “Heat
on the Feet” and “My First Million” carry the upbeat,
dance-friendly acoustic guitars of sideman Casey Lee,
while tracks like “Sorry OK” and “Degree’d or Denounced”
keep the singalong-friendly vibe of the album going. In the
background rumble faint sounds of bottles clanking, friends
talking, the charm of a bar, as Farren’s softer side laments
about the girl who “fits together” but “just don’t belong” on
“Oh, Your Silver Heart.” He openly admits being hesitant of
stringent punk lyrics, yet the religious debate of “Motion”
and suspect look at America’s past on “Cannonball” take that
hard look without political sloganeering. What works for
Fake Problems is their growth, listening to the EP’s in written
order shows a band more focused and determined with each
release. What holds them back is Farren’s scream intertwined
with his attempts to croon soulfully, falling so flat that it’s
unbelievable. Yet the evident growth of the two EP’s, and the
relentless live tuning, make Fake Problems hard to ignore,
and with their debut due in mid-2007, this is definitely a
band whose growth is worth watching. [Review : Sam Sousa]

Sabot Productions

Secretly Canadian

Fjord

Lives Lives
Fjord’s Lives Lives is an old-sounding album. It will remind
you of something, something, until you finally get it. Wait,
“I knew I’d heard this before. It was called 0:12 Revolution in
Just Listening.” These guys are clearly big fans of Coalesce.
The slow tempos, the indecipherable howler, and the big,
eclectic riffs makes Fjord a dead ringer for a band that I wish
never broke up.
So that’s an interesting position in which to find oneself,
having a band that serves as a decent knock-off of a band
that one enjoyed, but is out of service. It’s almost like buying
a tribute album. That’s roughly how enjoyable Lives Lives is,
as a fan of Coalesce. It’s imitation, but it’s a pretty good one.
They work within similar song structures, which revolve
around the guitar playing and have the same Southern rock
twinge that gave Coalesce a slightly different flavor from
Botch.
The album’s first track, “Ascending White Mountain” is
probably the best. They ride the killer opening riff for about
45 seconds and what follows seems to evolve reasonably, but
not predictably, from that initial melody. They can find a
groove, which almost makes me want to compare them to a
slew of stoner metal bands, but the time-signature play that

also takes place makes that too much of a stretch.
The lyrics take themselves awfully seriously and are pretty
bad, (also like Coalesce). “Ascending White Mountain,” as
you might expect, addresses that tried and true staple of
hardcore lyrical content, overcoming adversity. “Persistent
and anxious / tasting the clouds with each and every breath /
a whisper escapes my lips / reaching for something to prove /
starving vultures circle overhead / waiting for one single mistake.” That’s the most respectable part. It of course devolves
into, “You’ll be the only thing / between me and the peak. /
Move aside.” It’s all yours, pal.
“Dining with Rats” is a standout track, in neither a good
nor bad way. It’s an instrumental track with an acoustic
opening. Instrumental metal in the style of Isis and Pelican
has become pretty easy come by these days, but Fjord takes a
different approach on this song, for the most part remaining
in the style I’ve already described, but subtracting the vocals.
The results aren’t bad.
In any case, if you’re looking for a decent rendition of a
bygone sound, check out Fjord. [Review : Michael Flatt]
Eulogy Recordings

fueled breakdown about six minutes in. Dynamically, it’s one
of the most memorable and dense moments of the record.
Even more than the rest of Song, it’s only properly enjoyed
on headphones. “The Shallow” closes the record, with what
amounts to a fifteen-minute buildup. It takes most of what
is presented earlier in the record and puts it all together
perfectly. Earning all of its epic length along the way (much
like the record as a whole), it slowly but surely pulls you in
completely. After more than eleven minutes, it finds its way
to a towering and expansive final payoff.
In many ways, this reminds me of This Will Destroy
You’s debut full length. Both were originally self-released
(Song first came out almost a year ago), only to be noticed
and more widely distributed later on. Both are also pretty
straightforward examples of often attempted, epic songwriting that are both head and shoulders above most of their
peers. It’s possible that Giant will, at least on first glance, get
filed away as another slow-motion metal project. But upon
any closer examination, there is a lot going on within each
song that’s well worth investing 52 minutes into over and
over again.
Southern Empire Records

Gaza

I Don’t Care Where I Go When I Die
Gaza is a Salt Lake City-based hardcore/grind outfit
with some serious noise going on. They are one part Pig
Destroyer, one part Soilent Green, and one part Merzbow
all mixed together, and it’s excellent. “Calf ” starts us off
with a grind/groove tune, almost setting the stage. The title
track is just over one minute of noise, screaming, chaos,
and crush. “Hospital Fat Brush” begins to take the mixture
of the first two songs, then dives into a slow dirge with our
good old fashioned screaming in two different tones. “Sire”
is track four, and has a Botch feel to it that takes atonal to a
whole new level. The whole disc is a mixture of this feel, a
grind/atonal/odd-beat masterpiece. This is a really good disc,
with some really interesting tunes on it. The artwork is pretty
strange as well. The cover is a ram’s head, with black-onblack lettering for the song list. It’s interesting to see the song
titles by tilting the disc and catching the glare. Plus, what’s
not to love in a band that can write songs like “Slutmaker”,
“Hell Crown”, and “Pork Finder”? [Review : Pat Dixon]
Black Market Activities

Get to the Chopper/Oktober Skyline
Split 7”

An almighty split 45, only 300 copies pressed and I got
one, fucking awesome. Swirled vinyl, silk-screened brown
paper bag covers and two hardcore bands, you can’t beat it.
Get to the Chopper mixes grind and art-noise, with scream
to spoken vocals over stinging guitars. Lyrically they tackle
the fashionable hardcore that has emerged as of late; tight
pants, professional haircuts, and all. Oktober Skyline is much
heavier starting with a slow drudge, followed by noiseless
noise, then tearing into blast-beat grind and screamed vocals.
It’s metal tinged and heavier than hell. Lyrically they tend to
take the modern humor route of hardcore, with clever lines
like “Eat shit and go fuck yourself, motherfucker.” Undeniable tracks from undeniable bands, try and get one when you
can. [Review : Sam Sousa]
Square Of Opposition Records

Giant
Song

Depending on how you look at it, Giant is either in the
right place at the right time, or exactly the opposite. Their
debut full length features five tracks that clock in at almost a
full hour. They play slow, contemplative metal that’s easy to
generally lump in with Isis, Pelican, or Cult Of Luna. There
are a ton of bands similar to Giant lately, which is obviously
both a blessing and a curse. Giant manages to stand out,
thanks to carefully structured, legitimately epic songs and
standout execution of their ideas. The songs take very basic
riffs and connect them in a slow, but constantly evolving way.
This gradual development is a commonly attempted idea, but
one that’s rarely executed so well.
The record starts off with “Stories,” which opens almost
immediately with a wall of loud, slow guitars that work
together in a downright melodic way. Along with gruff
vocals, it lands near Neurosis’ most user-friendly songs.
After almost six minutes, it ends with a gracefully bold string
outro, setting the tone for more than a few surprises in the
following tracks. “The Red Opus” is another standout and
probably the heaviest song on the record overall. “Life For
Vultures” is the fastest, though that’s obviously a relative
term here. It builds up into an incredibly intense, double bass

Graf Orlock

Destination Time Yesterday
This is the debut full length from a band that plays what
they call “cinema-grind.” The whole thing is actually fairly
straightforward. They play frantic, but tightly knit and
varied grid-core, with a lot of samples from 80’s and 90’s
action movies between, and intertwined with the songs. The
samples are usually fairly short and sometimes split-second
breaks within the songs. But they all work surprisingly well
with the tone and the pace of the record. It’s obvious that
Graf Orlock give a lot more thought to the sound bytes they
use than most bands, who throw in a few movie clips while
mixing the record. The samples here are effective in adding
reference points to chaotic rhythms and song structure. They
also keep the pace of the record up in some ways, since they
add consistent, though brief breaks.
Musically, Graf Orlock isn’t exactly breaking a ton of new
ground genre-wise. But they do have a fairly fresh sound,
with solid songwriting and better musicianship. A lot of the
rhythms especially remind me of The Red Chord, since they
stray away from simple blast beats. In their most complex
moments, they also remind me of Psyopus. But, they also
add a lot of really choppy breakdowns that wouldn’t be
out of place in older Converge records. Fans of this style
of hardcore will be pulled in right away, while the movie
clips actually do add a welcome layer. It’s more than just a
gimmick, becoming a viable part of Graf Orlock’s sound and
their immediate appeal.
Level-Plane Records

The Gubernatorial Candidates
Self-Titled (CDEP)

Phil Rollins and Matt Resignola met at Tulane University
a few years back and began what is now The Gubernatorial
Candidates. They’ve had a rotating cast that forms a rhythm
section, but the two have remained the songwriting impetus
behind the project since its beginnings.
Rollins and Resignola create an engaging soundscape with
this, their debut release, which is effectively a meld of hearty
southern folk with raspy voices à la Bonny Prince Billy, and
intelligent rock drawing from a vast gamut of influences, including Joy Division, at times. This genre-bending EP is large
in scope in every way. Its five tracks differ greatly in length
from the 2:51 Western to the 10:51 atmospheric anthem.
(Also note that these tracks are found back-to-back.) From
there, we draw on everything in between in the remaining
tracks, including an implicit homage to Joy Division in “Letters of Marque.”
It’s often difficult to believe that just two main artists
could have such a vast span of influences that they could not
only have created this beautiful record, but also made it so
mysteriously cohesive. That is to say, in spite of the dramatic
differences in tone and timbre from track to track, the EP
never ceases to be attention grabbing, and by the end of the
nearly 30 minutes the five tracks span across, it never occurs
to you once that the record seems disjointed, in spite of its
almost overly ambitious musical and emotional range. It’s
also hard to pick out a highlight on the album, considering
that each track seems to speak to such a specific emotion
and tonal canvas that it would almost be like listening to five
separate albums in a half hour if the EP weren’t so undeniably cohesive. Still, all 11 minutes of “Des Allemands” are
remarkable musically, as well as the vivid southern scene
painted by “Civil War.” And yes, the 80s pre-post-rock call-

back in “Letters of Marque” is also a fantastic moment.
In the end, it’s clear that Rollins and Resignola have
unmistakable musical chemistry, and their post-Katrina rock
presence in Cajun country is sure to create an indelible mark
on the scene. I can only imagine what a musical presence this
strong is doing to continue to encourage artistic reconstruction in the devastated city. By the same token, it has become
clear to me that, once this record and this band start getting
more exposure, they’ll bring that same rebuilding strength
to a music industry that, at times, feels similarly in need of
reconstruction. [Review : Nick Cox]
Self-Released

Tim Hecker

Harmony in Ultraviolet
Based in Montreal, Tim Hecker has become one of the
premier artists and producers in Canada’s experimental music scene. In addition to countless D.J., remix and production
credits, this is his sixth proper album. Hecker’s records can
pretty accurately be described as “drone,” though that’s a little
like calling Neurosis “metal.” It’s correct, though more than a
little incomplete.
On first glance, each of the fifteen tracks here (including
“Whitecaps of White Noise” I and II, and “Harmony In Blue”
I-IV) are a continuous mess of hissing and delicate synth
lines. In essence, that’s what they are. But there’s something
really carefully constructed and perfectly dense about every
one of these 50 minutes. The way that everything is layered
seems haphazard at first, but completely deliberate after a
couple listens. Rumbling, tectonic noise is easy to create
and easier to pile on top of itself. But Hecker harnesses this
towering set of sounds in a way that is inviting and jagged
at the same time. Some of the synth lines that are just barely
obscured by static are downright melodic, especially in “Chimeras” and “Radio Spiricom.” In any other setting, they’d be
downright catchy. But in this grandiose, slow motion setting
they have an effect that’s even more pleasing. It draws you in
fully, and keeps you at an arm’s length almost simultaneously.
In the age-old debate of where noise ends and music
begins, Hecker has completely redrawn, or maybe blurred
the line between the two. There are a lot of people mixing
ambient noise and electronics in a fairly similar way. But
few are doing it as effectively or as organically as Hecker and
Harmony in Ultraviolet finds him at the top of his game.

Kranky Records

Heresi

Psalm II
It is kind of scary that all of this noise can erupt from just
one man, Skamfer. After bouncing around throughout Swedish mental institutions, it seemed obvious – play black metal!
Well, unlike Striborg (another one man show, but crap), this
is pretty good stuff. This guy makes some pretty heavy music,
and the production quality is pretty decent. The disc starts
out with “Liotte”, and sets the stage for Skamfer’s creation.
“Bevingad Och Forsedd Med Horn” comes next, and is the
longest tune on the disc, second to none in brutality. Overall,
it’s pretty good stuff. “Dionyssosinitiationen” is third, starting
off slow and Dissection-esque. You gotta love a guy whose
motto is “It is always the right time to do lots of drugs and
die.” This pretty much sums up the record. It’s good black
metal, and pretty damn impressive considering it’s the masterwork of one guy. [Review : Pat Dixon]
Hydra Head Records

The Higher
On Fire

“So if you want to see the show, just come with me baby,
I will show you how I roll.” That, my friends is a direct quote
from the first song on The Higher’s big Epitaph debut. So, in
short, it’s come to this. Even a casual observer can probably
tell that lately Epitaph saves most of their decent signings for
their Anti imprint. But over the last year or more, they have
jumped on the cheese-ball screamo bandwagon hard. They
have apparently been fighting with Victory over every band
with five or six kids who all have the same haircut and more
clothing sponsorships than recordings. At least The Higher
don’t insult your intelligence by pretending to border, in any
way, on hardcore (or even punk rock for that matter). Instead
they proclaim love for Justin Timberlake, The Police, mixing
radio-ready guitar riffs and irritating, unnecessary keyboards. Then they hit the studio with Maroon 5’s producer,
and produce eleven patience-testing tracks and a remix by
Fall Out Boy’s Patrick Stump.
You do the math.
Epitaph Records

Hot Cross
Risk Revival

Ever since the almost immediate impact of A New Set Of Lungs, the first release from Hot Cross more than six years
ago, the band has come a long way. I’ll be the first to admit that I referred to them as “that new band with the guys from
Saetia” consistently when I got that first record. They’ve had an outstanding run of releases since then, including Cryonics,
their first proper full length and Fair Trades & Farewells, an equally powerful EP. After Fair Trades came out almost three
years ago, the band lost founding member Josh Jaukbowski. Instead of replacing him, they decided to soldier on as a
four-piece. This meant retooling many of their old songs for the one guitar lineup and dropping a few from the live set.
But it also gave the band time and reason to approach the writing of Risk Revival in a much more deliberate way. This is an
obvious trap for most similarly frantic hardcore bands, where the danger of over-thinking is a common pitfall. Hot Cross
has never operated like your usual hardcore band though, and they emerged with a new approach, a new label and a new
record that is stronger than anything they’ve done.
The best and worse thing about hardcore has always been its immediacy.
Everything about it is meant to have an immediate impact. The downside to this
is that it often trades attention-grabbing intensity for staying power. Few bands
have been able to add to their songs’ content and lifespan without giving up any
of the intensity and immediate impact. Hot Cross have always defied this problem
to a large extent, but on Risk Revival, they’ve nailed it. “Finance Fuels the Sickness
at Heart” is the best example of the band’s full breadth, opening with a quiet,
acoustic intro that’s downright catchy. Within about 30 seconds, the song kicks
in with a more straightforward guitar riff, which just as quickly becomes a hasty
trade-off between the guitar, bass and vocals. By the time singer Billy Werner
screams “I will never slur my speech” just before the one-minute mark, Hot Cross
have already put together one of the best post-hardcore songs of the decade. From
there, they traverse the best things about mid-90’s screamo (from the Northeast
and San Diego), modern melodic hardcore and everything in between. By the
time the huge (though surprisingly short-lived) breakdown arrives at the halfway
point of the song, I stood completely convinced.
There are definitely flashes of their previous sound here, especially on the more choppy and straightforward tracks like
“Existence” and “Exits and Trials,” the opener. They work well, in the more frantic mode that made Cryonics a familiar
sound, but an instant classic nonetheless. But most of the songs use their already noteworthy past as little more than a
jumping off point. “Cardiac Silence” uses their signature, acrobatic guitar lines, but adds a downright bouncy rhythm. The
result is awkward on the first listen, and practically perfect after that. “Scrape Wisdom” uses a similar, bittersweet technique both in the mostly-sung vocals and the straightforward guitar riffs. But they also add a much more urgent, choppy
rhythm in the verses that keeps things moving without pushing the tempo. Hot Cross always harnessed a ton of intensity,
without using metal riffs, or particularly tough vocals. But on “Scrape Wisdom” they aren’t using any of the traditional hardcore methods and still arriving at a huge, anthemic and moving place.
That’s the case, to varying degrees, throughout Risk Revival. It is awesome on the first listen, and considerably better the 20th time through.
The future of hardcore? Obviously.
The future of independent music as a whole? I certainly fucking hope so.
Hope Division (Equal Vision)

In First Person

Lost Between Hands Held Tight
In First Person guitarist and singer Tom Schlatter’s previous bands (You and I, The Assailant) aren’t a bad place to
start in explaining his relatively new band’s sound. They play
sludgy and dense hardcore, which is really heavy but doesn’t
border too closely on metal at any point either. The heyday
of dynamics in East Coast hardcore, during the mid-90’s is
well represented here. All three members (Schlatter, along
with bassist Benn Roe and drummer Vanessa Espinal) sing,
which adds an uncommon amount of depth vocally to this
as well. The tempos are usually a step or two slower than
most similarly heavy bands, though there are quicker, more
frantic moments thrown in throughout. “Item #14” especially
reminds me of Majority Rule, with its back and forth guitar
riff and monolithic dynamics. It’s followed by “Kanye West
Was Right,” which is probably the most varied song here. It is
also my favorite track overall. It goes from choppy, growled
chaos to a deceivingly melodic slow-motion guitar riff. The
song ends with what is essentially an evolving, but cohesive
minute-long breakdown. The long, epic “…And Time Is Running Out” is another highlight, with a lengthy introduction
that’s followed by the most ominous guitar and vocal parts
on the record.
The record is hand-packaged, and looks awesome. It includes extensive liner notes, with thoughts on the songs and
the band as a whole from all three members. The LP version
also comes with a CD version of the record. This only adds
to the records’ value, as well as the feeling that there aren’t
nearly enough hardcore records of this much substance and
unencumbered emotion these days. The 25 minutes of music
here are more than worth finding, especially for anyone
with an interest in the less metal, but still heavier end of East
Coast hardcore. The whole package only adds to the value of
this record, both contextually and aesthetically.
Paramnesia Records

Jesu

Conqueror
Justin Brodrick’s self-titled debut under the Jesu moniker
was the best-case scenario for a drone record. Its slow, bleak
dirges had just the right mix of careful layering and brute

force. Last year he followed it up with the much more melodic and vocal-dominated Silver EP. At first, I didn’t know
what to make of it. By the time I’d listened to it three or four
times, it was obvious that it was a mini-masterpiece from
beginning to end and that its title track was probably the best
song I heard all year. Needless to say, I was more than a little
excited to see where Jesu’s second proper full length would
fall between the extremes of the debut and Silver.
Conqueror opens with the title track, which immediately
challenges everything I thought I knew about Jesu. The
drums’ slow-motion syncopation, shimmering guitar lines,
lush electronic swells and downright beautiful vocals all
collide. At first, it’s not only a new extreme for Jesu, but
also an odd assortment of sounds. But by the two-minute
mark, I’m completely pulled in. Rather than go back to the
gloomy, drop-D dirges that have served him so well since his
Godflesh days, Brodrick seems more than willing to push
the limits. All eight minutes of “Conqueror” the track make
it obvious that Conqueror the album couldn’t be more aptly
titled.
Next up are two short songs (by Jesu standards), both of
which are under six minutes each. “Old Year” is a towering
track that’s similar to the opener, but with sharper edges.
“Transfigure” is a heavier, more guitar-dominated track with
a faster tempo. The persistent guitar chords act as a base for
some of the most melodic and prominent synth lines on the
record. Even more than the rest of the record, it reminds
me of Hum in the best way possible. Next is “Weightless &
Horizontal,” the longest track on the record at just over ten
minutes. It is the closest thing to Silver, with an achingly slow
tempo, but boldly melodic riffs nonetheless. The progression
is deceivingly slow within the song, though it subtly covers a
ton of ground (even for a ten-minute epic).
Jesu has never been vocally dominated, in fact they were a
complete afterthought on the first full length. But “Medicine”
has a vocal line that is downright catchy, without being obvious, repetitive, or particularly high in the mix. It’s probably
the most complete summation of the album in any one song,
though it leans toward the lighter extreme. “Brighteyes” and
“Mother Earth” are both louder tracks, though not necessarily heavier. Each uses electronics prominently, though in
different ways. “Brighteyes” melds synth and guitar lines in
a way that it’s sometimes hard to tell them apart. “Mother
Earth” tends to alternate gracefully between the two, with
each taking the spotlight more than once. “Stanlow” closes

the record in a manner that is loud, even for Jesu. It takes
most of the best things about the preceding songs and melds
them together, with each element at roughly the same volume. Calling the result of this approach “dense” would be an
obvious understatement. But, like everything else that Jesu
does, it somehow works in a way that’s cerebral and melodic
at the same time.
I have been a fan of Jesu since the first dark, sludgy notes
of his debut. After Silver upped the ante with unlikely melody
and more conventional rock structures, I was completely devoted. If I were as likely as some of my friends to run out and
get regrettable tattoos, I’d probably have “Jesu” somewhere
on my forehead by now. But with Conqueror, and a live show
that more than met my insanely high expectations, Justin
Brodrick has truly redefined heavy music in a way that will
be talked about for years. More simply, Conqueror is truly
one of the best records of the year, in any genre.
Hydra Head Records

Julius Airwave

The City, The Forest
Lead by songwriter and chief singer, guitarist and pianist
Rick Colado, Julius Airwave first appeared from Jacksonville, Florida with 2004’s Dragons are the New Pink. Having
missed out on the debut, I had no idea what to expect from
this sophomore full length. It gets off to a strange start with
an uneventful introduction track, “In The City” and the
even keeled “Glory Glory.” From the first couple tracks, this
sounds like another melodically straightforward combination of late 70’s rock and modern indie rock. The track works
well, but falls uneventfully between The Strokes and Bloc
Party. But then “Nannerl” arrives directly after it, with a
driving, catchy mid-tempo piano line that has an immediate
impact. It’s the longest song on the record at more than five
minutes, but also the most effective. The strong piano line
that runs through the whole song is the defining moment of
the whole record. It’s both catchy and varied enough to take
a few listens to sink in. Colado’s vocals work with the piano
perfectly, without competing too much for attention. The
whole track succeeds in a way that features the best things
about classic, single songwriter-driven rock and modern
indie rock.
“Broken Bells” and “Für” are next, returning to the vocal

Nakatomi Plaza
Unsettled

More and more, I feel like reviewing records boils down in part to basically acting as a bullshit detector. It’s usually a pretty simple and almost immediate process. I put on the record before I read the bio and go from there. But once in a while, it’s obvious right away that a record and a band are
for real. Such is the case with Nakatomi Plaza, who I remember from their Immigrant Sun days. They are back with the belated release of Unsettled,
their second proper full length. This was recorded with J. Robbins back in 2004, only to be delayed by label shopping, mastering and remastering (six
times in fact). The extra -- and undoubtedly
frustrating – doing and re-doing has paid
off though. Unsettled may have taken more
than two years to see a proper release, but
it’s well worth the wait.
Things start off strong, with “A Manifest
Destiny Grows in Brooklyn,” which packs
a lot into its three and a half minutes. A
mixture of stop/start rhythms with winding
and melodic guitar riffs set an intensely nostalgic post-hardcore template. But there
is a much more dynamic and often catchy edge to most of the songs. The dual guitar
parts carry much of the content, though outstanding back and forth between male and
female vocals add yet another layer. The guitar work toward the end of “A Manifest
Destiny…” is the earliest, and one of the strongest examples of the incredible depth of
Nakatomi Plaza’s sound. It sounds like the rhythmic sensibilities of Braid, with the bold
dynamics of Circle Takes The Square, though it’s catchier than either.
Other highlights include “Where Good Intentions Go To Die,” which is a bit more
straightforward and melodic, though still hardly easy to figure out on the first couple
listens. “Combustible/Jettison” follows not long after it, with the most unabashed
opening of the record. It’s a more mid-tempo song that jumps straight from an almost
Maiden-esque dual guitar opening to a swaying and catchy post-hardcore chorus.
Both are definite highlights, which are hard to pick out here, since all eleven songs are
packed and have their moments.
The perfectionism in every aspect of the writing and execution of Unsettled is obvious, though the result feels like it’s anything but cold or calculated. The result is a dense
and carefully mapped out, but also seamless, almost immediately pleasing record. I
could see this surprising, and grabbing a wide swath of music fans. Myself included.

Red Leader Records

and guitar-dominated formula of “Glory Glory,” but with
more distinct results. Both are solid, mid-tempo melodic
rock songs that nod heavily toward mainstream bands like
Franz Ferdinand. Thankfully though, Colado’s songs are
absent of any trace of the repetition that land acts like Bloc
Party or Franz Ferdinand on the radio, but also leave their records without much staying power. “Finale’” is a slower song,
and another that’s dominated by piano in place of guitar. It
works in a more patient, lasting way, much like “Nannerl.”
There is a lot of variety to The City, The Forest as a whole,
which is what makes the songs work so well individuality.
They follow a familiar formula, mixing a number of popular,
well-traveled sub-genres within modern indie rock. But
thanks to the graceful versatility of the thirteen songs here,
there is surprising depth to a record with immediate impact.
It’s hard for me to see Julius Airwave not making a name for
themselves with their second record. And, for once, it would
be well deserved and unsurprising at the same time.
Sickroom Records

The Life and Times
The Magician (CDEP)

I hate to say it, but in many ways it seems like Allen
Epley’s new band is starting to shape up in many ways like
Shiner, his last band. With The Magician, Epley and company
have released a near perfect five-song follow-up to Suburban
Hymns, which was one of my favorite records of 2005.
Like Shiner, their brand of lush and contemplative indie
rock works in a way that will have a minority of music fans
completely freaking out. But it seems to consistently soar just
over the heads of the huddled masses. For example, they’ve
toured recently with a number of much larger, and much less
interesting bands (Sparta, Murder By Death), though I don’t
know if you’ll see them gracing the pages of Spin or AP any
time soon.
These five songs were recorded by J. Robbins, intended for
Japanese imprint Stiff Slack. Thankfully, it is seeing wide distribution in the States. This essentially picks up exactly where
Suburban Hymns left off. And in this case, I wouldn’t have it
any other way. “I Know You Are,” the opening track is a slow
and overtly melodic dirge, which finds its momentum almost
three minutes in. Next is “Hush,” which is obviously the most
immediately appealing track. It features no less than four
different riffs, each more catchy than the last. They are spread
between the guitar, bass and Epley’s soaring vocals, appearing at different times. In a few spots, more than one melodic
riff will overlap, making for a challenging, but never messy
result. The much slower and darker “Killing Them Softly”
is followed by “Ave Maria,” which is probably the quickest
track here. It is probably my favorite overall, and one of the

best Life and Times songs to date. It brings to mind Failure
in a lot of ways, though it takes the whole sound one step
forward, using layering and tense melodicism perfectly. The
haunting five minutes of “The Sound of the Ground” close
the EP in a contemplative and fitting way.
If there were any justice in this world, Epley and company
would be complaining about the catering in arena dressing
rooms while Incubus were jockeying garbage trucks somewhere. But, stories like this are as old as rock and roll. The
Life and Times will likely continue to toil is near obscurity,
though they are still turning out some of the most satisfying
and challenging rock music anywhere.

Stiff Slack Records

Low

Drums And Guns
Imagine you live in Minnesota. There is already a foot of
snow on the ground and several more inches in the forecast.
Further, it has been cold for months and it’s perfectly clear
the drifts are mounting faster than your ambition to shovel.
Instead, you wrap yourself into your favorite blanket and
pour a drink to keep warm. The only thing left is to toss on
Low’s latest release, Drums and Guns.
This record would be a perfect soundtrack to some ultra
trendy movie, but it still makes for good listening. Lots
of drum machine beats, clicks, loops and other electronic
effects churning around the haunting vocals of Mimi Parker
& Alan Sparhawk. I was reminded of Neil Young and Linda
Ronstadt on “Harvest”, especially on songs like “Sandinista”
and “Breaker.” Say what you will, but this record sounds like
it is as much a product of Minnesota as it is of Low.
Drums & Guns picks up where The Great Destroyer left off,
minus bass player Zak Sally (whose duties are now covered
by Matt Livingston). Even though it seems to lack some of
the traditional song structures found on earlier releases,
Low’s music still drips with passion and dynamic motion.
However, their songs now seem to have taken on a new
texture and form. The ambiance of this record is somewhat
monotonous, noisy and continually building in intensity.
Overall, the album sounds primed to burst into the fervent
rock Low is known for, but never does. All in all, how many
bands leave a listener wanting more after fourteen years and
eight records? The bio states they have been playing different versions of these songs live for sometime, but I do not
recognize them. I have not made the effort to catch a show
in several years, but this album may be just the motivation I
needed. [Review : Jason Zabby]

Sub Pop Records

Lower Forty-Eight
Apertures

Lower Forty-Eight hails from San Francisco, the cold
winds of the city infect their second release with a sharp and
cruel sound. This three piece creates complex and daring
songs that jump across the chugga-chugga map from technical Converge spastics to the controlled power of Small Brown
Bike. It is the latter band with which Lower Forty-Eight has
the most in common; building upon the heavy-handed precision of late 90’s post-hardcore.
The band can drift from subtle picking to heavy riffing
within the five plus minutes of album centerpiece “Desperate Signs.” Longer tracks like closer “The Ring” take their
time building up to the screaming breakdown without ever
growing weary. Likewise, “Blaue Augen” carries its six plus
minutes of stomp and riff on the weight of Phil Becker’s
march time drumming without crushing itself from extensive musical play. This problem plagues many a band; barely
riding the thin line between carrying a song to its proper
limits and making a convoluted track full of off-key shouts
and quick time changes. Lower Forty-Eight pull it off with
a flawless vigor. They never cloud guitarist/singer Andrew
Lund’s vocals with unnecessary back-ups or sing-a-longs,
allowing him to explore the delivery of lyrics with a clear
approach. “Seventh Sight” finds Lund in a belly induced yelp,
while “Massive Denial, Massive Guilt” finds him veering
towards a spoken shout, bringing to mind Mike Reed or
Chris Wollard. The Musicianship really finds it place in the
weaving off notes of Lund’s licks and Grady Mutzel’s bass on
the straight for the throat cut “Afterlife” and the heavy heartfelt “Truth from Fact.” Here Mutzel’s playing creates a subtle
ambience behind the pouncing drums that keeps the song
in line, steering clear of the repetitious rhythms most bands
attempt to pass off as backing tracks. Lower Forty-Eight has
what it takes to build a solid base and rise to the Upper FiftyTwo. [Review : Sam Sousa]
Monotreme Records

Maaster Gaiden

Like it Never Happened
You’d never know this band is a two-piece. Not that the
music is complex math-metal; just the opposite, this is garage
punk: three chords, cranked up speakers and a fuck off
attitude. There’s also a blues-based intensity, combined with
the “Let’s start a riot with these songs” attitude of early rock
and roll. Alex Anguiano’s nasal infused vocals and snotty
delivery give songs like “Without You” and “Girls like You”
the eat shit approach they need to be believable. Maaster
keep the songs simple, only one track crosses the two-minute

threshold, which is perfect because you couldn’t drag out
these songs out with a tow hitch. The juvenile “Won’t Take
My Meds” and “Hope it’s Not True” are soon to be standards
of teenage angst, the ‘I’m weird so what, won’t take my
medicine’ and ‘Every face just looks like another liar’ lyricism
keep these guys honest.
Far too often bands with this sound play out like a contrived version of something so natural, for Gaiden it’s far too
honest to not sound like this. Adam Asmar’s drumming is
spandex tight, pulsing and pacing along every track without
congesting it full of unnecessary rolls and fills. He cuts the
shit, open hi-hat blaring, a double pounce on the floor, while
Anguiano’s guitar strums with exigency. Every ounce of this
duo’s small town existence plays out on this twenty-minute
record; you can hear them ache to leave it all behind. Like It
Never Happened is the record to hand a fourteen year old,
angry, fun, and honest. [Review : Sam Sousa]
Big Action Records

Maps of Norway
Sister Stations

The new-wave / electronica / garage sound of this
band is cool. Songs like “Victory Lane,” “Manners” and
“Cellophane” are all fast paced charmers for sure. Giant,
sticky and math-like bass and drum tooling are wound into
over-produced electronic sounding guitar effects. Under
normal circumstances, these things together would annoy
me. But they work together perfectly for Maps of Norway.
Rebecca Morcial’s vocals are, as their bio states, legitimately
crooning. All the goodness aside, I must say I enjoy the newwave garage rock feel much more than the more electronic
portions of this album. Even though Maps of Norway do not
over-do their particular version of the classic “electronica”
sound, they have come dangerously close. If you are not into
electronic swirls winding about, then Maps of Norway may
not be your thing, but if you are open to new sounds, then
this record will quickly grow on you and slowly take over
your deck as it did mine. [Review : Jason Zabby]
Guilt Ridden Pop

Mass Movement of the Moth
Outerspace

Being all over the place musically is something that a lot
of bands happen upon, or more often strive for. Whether
or not these D.C. natives are aiming for chaos, they’ve
succeeded in finding it. Frantic rhythms, bright guitar riffs,
fuzzy keyboards and shouted vocals are all thrown together.
The result often sounds like frenzied Northeast hardcore, but
just as often sound like an almost psychedelic carnival.
It isn’t hard to lob comparisons to An Albatross, especially on “Idle Minds Speak in Binary,” the opener. It takes
straightforward, winding guitar riffs and hyperactive bass
lines and puts them together with driving rhythms. The

result is loud and intense, but hard to really lump into any
sort of hardcore sub-genre. “Fang” is next, and puts together
something of a template for a lot of the other songs here. It
starts as a choppy, spastic hardcore song. But instead of just
throwing keyboards on the pile of sounds, they actually carve
out room for the keyboard parts in the chaos. This constant
variation in tempo and rhythm is hardly subtle, but the large
leaps are made surprisingly smoothly. “Seven” and “Riddle
Me 666” are the best example of the band’s handling of very
different sounds right next to one another. The loudest, most
choppy hardcore sections are often followed right away by
the spacey, keyboard and bass-driven passages. Instead of
sounding like binary, Locust-esque schizophrenia, it actually
flows pretty smoothly. It’s hard for me to figure out exactly
how the band pulls it off, but the transitions are always sudden and smooth at the same time.
Outerspace manages to cover a lot of ground in just over
30 minutes. The intensity and huge variation in sounds is
dizzying, but never too abrupt thanks to tightly constructed
songs. They rely on choppy rhythms and smooth transitions
for an expansive and pleasingly original take on post-hardcore.
Exotic Fever Records

Microwaves

Contagion Heuristic
Avant-thrash doesn’t even begin to describe the sound of
this record, like having your eardrums pierced with a sword.
From the blaring, immediate sirens that open “Thumbs
Down, Lambpit” to the same shrieking alarm that ends
“Slime Aesthete,” no album ever made me feel more old than
this. Turn it down. The cuts are tight, sharp musicianship and
a no holds barred approach to songwriting keep the listener
on their toes. The sporadic drumming pounds behind concentrated noise on “MK” and “Executive Indecision” where
with each passing second my head feels closer to complete
explosion. It’s no shock that this band of collision hails from
the steel drenched streets of Pittsburgh. They literally sound
like cars crashing.
What Microwaves does have going for itself is expert playing. It is obvious that each member knows their instrument
inside and out, and Kuzy’s spoken/shouted vocals carry with
them a sense of urgency and immediacy that keep his words
on the forefront of the audio. MacGregor’s bass blips and
blurps like the ray of a futuristic spaceship over metal-like
chugs. The Microwaves cut Contagion on two-inch tape, giving this sounds-of-tomorrow slab an old school, digital-less
vibe. [Review : Sam Sousa]

Crucial Blast Records

The Memories Attack
Self-Titled

The Memories Attack is a Canadian duo that do the based
in different cities collaboration thing, which reminds me
a little bit of Postal Service. In this case the two members
live in the maritime provinces of New Brunswick and Nova
Scotia and have been in bands such as Falling Bodies,
Orange Glass, and Eric’s Trip, none of which I have heard.
Looking at the CD and reading through the literature that
came with it I was expecting a conceptual project thing with
a lot of intriguing noises located in weird places. What you
get when you put this on is different, and a lot better. Most of
the album consists of melodic (sometimes a bit psych) pop
songs. The vocals are smooth and refined, but strong enough
to cut through the often thick texture that supports them.
I can see this band being one of those indie rock projects
that find crossover success in a more mainstream way. The
music is melodic and catchy, the vocals are smooth and the
overall feel is very likeable. The Shins or countrymen Band
of Horses are not inaccurate reference points. The first two
songs were the ones I liked best. “Love in the Time of Hate”
and “Timeline: Gone” are both polished, poppy ballads that
are very catchy. “End it All” reminds me a little bit of You’re
Living All Over Me-era Dinosaur Jr. which is very good.
“Annalee and the Roof ” is the song that comes closest to
what I expected this would sound like. It is lo-fi and spacey,
with random noises inserted throughout the track. It’s not
bad necessarily, but I really don’t have much interest in it.
Overall, this is a very good record and you should check it
out. [Review : Andre Medrano]
Little Mafia Records

The Midwestern
Self-Titled (CDEP)

The three members of The Midwestern have, by virtue of
their choice in band names have done most of my job for me.
At least in terms of general description of the band, it’s pretty
much taken care of already. This is a fairly new band hailing
from Chicago, and they wear it on their sleeve as much as in
their name. The record opens with “Molson Golden,” a midtempo instrumental song. In combining the angular, lush
chords of Owls with the pleasing but challenging rhythms
of Tortoise they further wallow in Chicago’s stench. None of
this is bad, but it’s hardly surprising either.
Just as quickly as I had this figured out, the second track,
“Showcase” opens. It’s a step or two quicker than the opener
and features really solid, but not necessarily virtuosic vocals.
The influences here are different, but geographically really
close to those of the opener. Think early Braid or much more
burly Jejune and you’re on the right track. The song switches
off between winding guitar/bass work and much more
choppy sections with solid, unassuming vocal lines. It closes
with a delightfully chaotic, but still solidly melodic section,
which reminds me of Polyvinyl’s late 90’s heyday in the best
way possible.
The final two tracks take elements of the first two, and
expand on them consistently and proficiently. “Southwester”
winds its way through multiple tempos and structures
without ever straying far from a well-defined idea. The

The New Trust

Dark Is The Path Which Lies Before Us
Despite this being their first proper full length, The New Trust is a band practically buried sub-plots already. They are a side
project, a co-ed band and feature a married couple. At the same time there’s also something tantalizingly straightforward about
their approach to music, though not always about the music itself. The band is fronted by bassist/singer Josh Staples, who also
plays in The Velvet Teen. The story goes that The New Trust’s relatively short and straightforward approach is what kept him sane
during the recording of The Velvet Teen’s effectively drawn out Elysium. Staples is joined by guitarist, singer (and wife) Sara Sanger
(for whom the band is a side project to her outstanding photography). The lineup is rounded out by guitarist Matthew Izen, also of
Polar Bears, and drummer Julia Lancer, who both live with Stapes and Sanger in Northern California.
Immediately this is what I expected, and hoped for, after their debut EP (We Are Fast Moving Motherfuckers, We Are Men And
Women Of Action), which came out a couple years ago. It features winding guitars, haphazard rhythms and huge doses of what was
best about mid-90’s indie rock from both coasts. The opening track, “A Spoiled Surprise, A Cheap Reveal” starts with a bouncy and
melodic bass riff, topped off by meandering guitar work. The guitars especially constantly alternate between working together and
going completely against each other. The whole interaction and the bass playing especially reminds me of the first couple No Knife
records. This is a recurring theme, though it’s mixed with less precise influences from bands like Garden Variety and Vitreous Humor. There are also some nods to Dischord bands, especially Shudder To Think (on Staples’
vocals in particular). All of this makes for an energetic, but surprisingly layered result.
The record features three or four really standout tracks, including the opener, the soaring
“When The Dead Start Rising,” and the more contemplative “The Body And The Brain.”
My favorite overall is definitely “Wake Up It’s The Nineties,” which is a perfect example
of a song that’s engaging and catchy right away, but still doesn’t get old when put on over
and over. And that, beyond all the comparisons, the sub-genres and recently bygone eras
covered here, is the biggest credit to The New Trust. A balance between immediate appeal
and lasting effect is hard to find, and harder than ever to stumble into these days. Yet, every
second of the 38 minutes and 13 tracks on Dark Is The Path Which Lies Before Us offers a
perfect melding of the two. If that doesn’t have you heading to the record store, I don’t know
what will.
Slowdance Records

guitar work is bright and technically really solid without ever
wanking or hiding behind distortion. Sometimes modern
bands think that an instrumental song needs xylophone or
saxophone or some other distraction-phone to keep people
entertained. But The Midwestern proves that it only needs
really strong guitar work to accomplish the same thing. The
EP closes with “In Like A Lamb, Out Like A Lion,” a loud,
heavy-handed payoff that the other three songs seemed to
be hinting at. It reminds me a lot of Piglet (another young,
and exciting new Chicago-area band) or even a less complex
Six Parts Seven. It is the perfect ending to a really strong
introduction to the next in line for Chicago’s (mostly) instrumental, post-indie rock throne.
Rorschach Records

Mutiny

Co-Op Brewery
Mutiny are an Australian six-piece delivering something
akin to upbeat Renaissance Festival-like music. It creates a
sense of real excitement and urgency that is hard to come
by these days. At first it was easy to dismiss them as a rather
typical band, like most bands that play traditional sounding
pirate music, laden with mandolins, accordions and Jonny
Rotten-styled yelps. OK, you do not really hear that too often. They immediately bring to mind bands like the Tossers,
Defiance Ohio, or the Dropkick Murphy’s; comparisons that
come close, but do not define their sound very well.
The opener was OK, nothing to write home about.
However, the second track “Eighty Punks and an Old P.A.”
really sold this record to me as something special. There are
no frills in the lyrics, you know the story they are telling, it
is the same story you wrote as a youngster surrounding your
favorite band at the local Legion Hall. In the beginning it was
easy to identify with the entire package Mutiny pushed forth,
but as the album rolled on, it became apparent that it told a
batch of new stories.
Other tunes like “Jumping the Rattler” and “Convict
Rum Song” include some very clever lyrics and even more
interesting musical arrangements. Each instrument really
complements the other, creating honest feelings of community. “Dirty Jig” sums up the record for what it is, a dark
and introspective look into the human condition. It’s one big
giant nod to the underbelly of life: sex, drugs and Australia.
Drums driving a medium pace with math-like folk bass,
minimalist in the purest sense, dark and gothic.
Mutiny’s convict ancestors would be proud. A stereotype?
Maybe, but in the end, when the internet has solidified the
destruction of most local or regional sounds, it will be a
communities’ history that stands alone as truly original and
one of a kind. Mutiny might play a musical style many are
familiar with, but they bring a story you know nothing about.
The music kicks ass too. [Review : Jason Zabby]
Fistolo Records

Nothington

Pinebender

Self-Titled

Working Nine To Wolf

To be quite honest I didn’t even know that BYO was
still in business, I knew you could get the old releases, but
new music, well. Nothington is a four piece hailing from
San Francisco and they certainly have the style down. It’s
mid-nineties punk; heavy distortion, mid-tempo, five chord
songs (two of which are just for the breakdown) with tons of
sing-alongs. Jay Nothington’s vocals are melodic and gravely,
like Lars Fredrickson, only rougher and uglier. The eleven
songs here sound like the best Social Distortion or Face to
Face outtakes you’ve never heard. Straight ahead tracks like
“Last Time” and “Where I Stand” have a heavy, loud sound
with to-the-point lyrics about keeping your head held high.
Mike Hicks’ bass work is steady, the most solid part of the
band. They tear through track after track, only a few of which
go over three minutes. The band has a heart on the sleeve,
straightforward approach that makes all of this believable.
Too often bands aren’t convincing, but Nothington has a level
of personal intensity that most bands are without. They aren’t
re-inventing the wheel, but they certainly are the strongest
spoke to roll around in quite sometime. [Review : Sam Sousa]

Pinebender have been around in some form since 1997,
though singer/guitarist Chris Hansen is the only original
member. They begin their third proper full length in a risky
way, with the 14-minute dirge “Parade of Horribles.” It
works in a bright, but slow and sludgy way, which reminds
me of a cross between early Sabbath and Tortoise. The trio
features Hansen’s sparse, but effective, soaring vocals and
guitar, along with baritone guitar and drums. The bass-less
trio is the furthest thing from hollow, with huge tone and
dynamics. This is thanks in part to Greg Norman’s outstanding production, split between Electrical Audio and his own
studio.
It’s hard not to hear obvious nods to Hum, and Failure
throughout the record. Pinebender don’t borrow from either
band in a subtle way, but they never rely just on that either.
The slow motion metal riffs and melodically monotone
vocals both lean toward the best of the mid-90’s post-alternative scene. The opener is long and slow, but never seems
long-winded. The same is true for the remaining seven
tracks. The hour that covers never seems uneventful, despite
the songs’ slow pace and slower tempos. This is exactly the
sort of intensity through economy that makes for a record
with a long life span in my regular rotation.
I can’t decide if I like Pinebender so much because they
remind me so much of a largely bygone era of indie rock, and
frankly I don’t really care.

BYO Records

Only Crime
Virulence
This is the second record from Only Crime, who are the
kind of side project/all-star band that is both too easy and
almost impossible to review at the same time. The band
features Bill Stevenson on drums (Black Flag, Descendents,
etc.), Russ Rankin (Good Riddance) on vocals, Aaron Dalbec
(Bane) and Zach and Donivan Blair (Hagfish) on guitar
and bass respectively. The result, as with their first record,
is about what you’d expect given the lineup. The songs are
straightforward melodically, with pretty simple but tightly
constructed guitar riffs. The rhythms are slyly angular,
which adds a welcome break from standard cut-time punk
rock fare. There is something much more cohesive and a bit
deeper than their debut record.
The songs are pretty similar from one to the next, though
there’s enough subtle variation that this will be interesting to
most anyone that’s really into mid to late-90’s Fat bands. That
said, I went through a big Fat Wreck period in the first half
of my teens (as did most people I know my age). But I was
never a big Good Riddance fan, partly because of Rankin’s
vocals. The guy does his thing well, but his four or five note
range has always gotten pretty old for me (even though he
uses his limited resources well). That is as much the case with
Only Crime as it ever was with Good Riddance, though these
guys do have a bit more interesting approach musically. It
helps a little, but the dude is still not my favorite singer.
This is a refreshing mix of styles from a number of
veterans of melodic punk rock. The combination is worth
checking out if the bands on their resume were ever favorites
of yours, past or present.
Fat Wreck Chords

Lovitt Records

Possible Selves
Self-Titled

Multi-instrumentalist Neal Williams comes into the
picture with his debut solo record. I had to say that I was
impressed by the extremely ambitious instrument array that
Williams touted on the inside of the liner notes (which I read
before listening): 19 in all, including lap steel and accordian.
My intuition told me this was sure to be a good release. I
have a profound appreciation for artists that take it upon
themselves to learn an incredible array of instruments and
play them on a record to create a barrage of sound.
I haven’t been more disappointed in recent memory. Williams promises much but, unfortunately, doesn’t deliver with
this release. Sitting squarely in the folk genre, this record
demonstrates much less experimentation than such a varied
instrument repetoire might have you imagine. The truly unfortunate part of this is that Williams is not a bad musician.
“Takers” features some very nice, genre-appropriate guitar
finger picking, and it is tastefully accompanied by some
interesting percussion instruments and a bit of strings—right
before the song is cut off and replaced by an aimlessly meandering guitar and harmonica number.
The point is that someone like Williams could really
benefit from a bit of collaboration and artistic discourse. It is
clear on “Lights in our Bodies,” by far the record’s best track,
that he has some great ideas. This track illustrates a remarkably full sound, with Williams himself at the helm of dozens
of selves, all of which contributing to a listenable texture. Yet

Benoît Pioulard
Précis

I was very intrigued when I first listened to this release, so I went searching for more information on the enigmatic Pioulard. On his website, www.pioulard.com, which, other than exhibiting
one of the most strikingly beautiful examples of minimalism I’ve seen recently, I found, among other things, a link to a Wikipedia article on him that betrayed his true identity as none other than
Michigan’s Thomas Meluch.
Also a sight to behold is his collection of Polaroids, which seems to be a wonderful obsession; he includes one (presumably an
original) with each purchase of his “collection” (Précis, 2005’s Enge 7”, 2004’s Random Number...Colors Start CD, and assorted badges
and stickers), they are ubiquitous on his site, and the video for “Triggering Back,” one of Précis’s more lovely tracks, features Meluch
wandering around with a childlike innocence snapping them.
What Meluch is able to accomplish with his voice, a guitar, some ambient noise and a few mixed percussion instruments is truly
a sound to behold. His influence from the “intelligent dance music” (IDM) wave of a few years ago, including artists like Autechre,
Boards of Canada, and Aphex Twin, is rather obvious. Yet to hear that woven into an experimental folk texture is wonderfully pleasing.
Meluch tends to use it more to support his vocals and guitar playing, rather than to highlight the beauty of the sensitivities of an artist
who is able to intricately craft a subtle sound art piece using a bit of static and some pops and clicks. The best illustration of this is on
“Moth Wings,” where, for one minute and sixteen seconds, a set of effected samples accompanies a simple, yet beautiful piano line. The
result is bliss.
If what you’re looking for is the typical release from a singer/songwriter, you may not find what you need here. However, if your
musical appetite is whet by the subtle brilliance that can be accomplished with minimal sound, then it’s sure to interest you.
It is worth picking up the album simply for “Corpus Chant,” the record’s seventh track, which features Meluch’s sensitively layered
vocals over a repetitive, melodic line laid down by a dulcimer-like instrument. Songs like this are what will make Meluch famous; the
hype is already beginning to surround the 22 year old prodigious songwriter: “Triggering Back” was recently chosen as KEXP’s song of
the day, and Précis has been receiving deservedly glowing reviews. It will be remarkable to discover what else Meluch comes up with in
the way of gorgeous, lo-fi, genuine releases. [Review : Nick Cox]
Kranky Records

Signal To Trust
Golden Armour

Over the course of four long years, a lot can happen in any facet of music. Minneapolis’ Signal To Trust have never been particularly prone to follow the trends. Even so, Golden Armour is their second full length and first release since 2002, so it’s still hard to
know quite what to expect. In a lot of ways, it picks up roughly where Folklore left off years ago. But, at the same time, it’s obvious that
singificant time was spent working on these 12 songs. The overriding quality to Signal To Trust’s sound is a lushly melodic, heavily
layered feeling that is thoroughly Midwestern. The angular rhythms and carefully intertwined guitar and bass lines nod pretty clearly
in the direction of Touch & Go’s more melodic output.
Among the all the choppy, stopping and starting rhythms there is also a much more immediately pleasing aspect to their sound. It
isn’t new-wave in the traditional, keyboard and dance beat-laden way. Instead, the way the dual guitar lines intersect with the cerebral
vocal melodies does legitimize the prescribed comparisons to XTC or My Bloody Valentine. Where these dark melodies meet the
more involved rhythms and song structures, there’s a fairly obvious leaning toward Wire and Gang Of Four as well.
Above and beyond these sub-genres, and musical eras is a melding of different sounds that isn’t too hard to categorize, but impossible to cram into any pigeonhole. There is the Police-esque guitar riff that opens “The Herald,” or the straight-faced, but still funky
breakdown in “Silver Coast.” Just when you’ve wrapped your head around all of that, there are the boisterous gang vocals to open
“Now We Got What You Got,” and the perfectly placed trumpet line that ends it. The whole song is the perfect closer to a record that
seems impossible to close. In the end, Golden Armour is immediate in its effect and a dense layering of sounds and attention-grabbing
moments at the same time. This, truly is “post-punk” in every way. The record spends 50 minutes gradually pushing outward on its
boundaries in such a careful way, that you don’t realize until it’s all over just how far you’ve traveled. This may have taken four years to
complete, but it was well worth the wait (and pretty close to fucking perfect).

Modern Radio Records

this momentum sadly doesn’t exist throughout the record,
and Williams neglects to learn his own lesson from this
track: songs don’t need a fast tempo to have energy. The
corollary of this proposition is that slow songs can certainly
have energy, which apart from “Lights,” the record seems to
be without.
Then there are songs that, in all of my journalistic fervor,
I have no idea how to classify other than horrible. Some tout
such brilliant lyrical gems as “I need to get myself a glass of
tea / The kind that relaxes me / Not the kind that turns to
cocaine in my piss.” I beg you, readers, to imagine what kind
of musical accompaniment could make those lyrics sound
anything other than asinine. If you’ve found one, I’d bet anything it’s not the one recorded here. It’s clear that Williams
is suffering from a dire lack of inspiration and constructive
criticism. It’s not out of the question that Williams’s sophomore release could overcome the mess he’s created here, but
only time will tell if Possible Selves becomes a viable and
listenable project any time in the near future. [Review : Nick Cox]
Sao Bento Records

Psyopus

Our Puzzling Encounters Considered
I’m not going out on any sort of limb, when I say there’s
a serious glut of metal/hardcore bands popping up these
days. Most of them are trying to find the heaviest and/or
craziest approach, though most of them end up sounding
pretty much the same. Instead of using any of the time-tested
shortcuts, Psyopus legitmately forge their own path. Their
approach lands them somewhere between frantic grindcore
pummeling and the complex rhythms of Calculating Infinityera Dillinger. The result is about as confusing and hectic as it
looks on paper. But there’s also an obvious attention to detail
in the creation and delivery of the songs. Everything is structured in a linear way, but the transitions between sections are
all surprisingly smooth (though usually abrupt). The guitar
parts carry most of the load content-wise, with a lot of riffs
that sound like Botch in fast forward. Other times, the guitar
work sounds a bit more like traditional speed metal. Though,
like everything else in a Psyopus song, it comes at you in
bits and pieces. There are short bursts where I can nail down
a countable rhythm or an obvious influence, but it usually
disappears as soon as my brain catches up to it.
Though they’ve only been a band for a few years, Psyopus
have found their own niche on their second record. I have a
hard time picturing many bands in a realm of modern hardcore or metal that can keep up with these guys technically.
But their ambitious songwriting and arrangements are what
really set Our Puzzling Encounters Considered apart from the
pack. Way the fuck apart, in fact.

is plagued with a million trend hoppers. But Revival’s past
credits in Canyon and as Jay Farrar’s backing band, give them
the chops to create a coherent and direct piece of Americana.
They stray from the depression-era folk gems, or the twangy
country sound that flow through so many of these bands.
Cuts like “Anniversary” and “Following You” stand firm
in acoustic balladry without ever getting schmaltzy, their soft
guitars dance behind trembling vocals. ‘Favorite One’ cuts
from the same cloth, but now Josh Read is begging to be let
go and left alone, and this where Revival comes in clear. Noel
White’s slight percussion and Evan Berodt’s guitar coalesce
with Read’s voice to form a distinct and believable union.
Read’s distant and ethereal vocals, neither forced nor fake,
lie on the edge of personal breakthrough, the closest level of
honesty we can hope for out of any one performer. On tracks
like ‘Dizzy’ and ‘King of Kings’ the band stomps through
upbeat bluesy tones, meshed into spacey picking and this
is what works best for this band. They play the alt-country
card just enough to give them accessibility, but temper it with
echo-drenched guitars that keep them interesting enough
not to be predictable. On the cover, beyond the frontman’s
somber face and hidden eyes, lies empty countryside, a wideopen space for the fitting, it is here, where all environments
collide that Revival marks its own territory. [Review : Sam Sousa]

Horses of War
I give every record I receive to review four spins to let
my ears soak it up and make a clear impartial decision.
The thing is a certain mood, or time of day, can subject the
review to the worst of its qualities and all music has shit
qualities. Revival’s Horses of War is why I go the distance with
each piece of wax; it’s a beautiful record grooved with lush
melodies and spacey guitars. The alt-country rock resurgence

Abacus Recordings

Gypsy Eyes Records

Dan Sartain

Join Dan Sartain

Ribzy

’81-’85 Recordings
Remember the Ribzy track “Collapse” on the classic Not
So Quiet on the Western Front compilation? Well how about
all their hard work putting San Jose hardcore on the map?
Not that either. Well how about that legendary story where
Jello Biafra asked if their lead singer was a racist and then
no confrontation ensued? Well good then, you’re not alone
because about the only people who remember Ribzy are the
people who played in Ribzy, and even some them are trying
to forget.
This collects all of their unnecessary and undeserved,
boring recordings into one full length that almost no one
will buy. It’s three-chord punk without energy, reminiscent of
Youth Brigade or even the Germs, only again I remind you
it’s boring. The irony is that it sounds like what someone today would write to be retro. Yet it’s not, these are completely
legitimate recordings from the eighties, full of uninspired
snotty vocals, and trite anti-establishment lyricism. They
littered the insert with flyers where they opened classic
keggers for DOA, Black Flag, Flipper, and shit load of other
bands with appeal. Jesus, how things have changed. [Review :
Sam Sousa]

Vinehell Records

Metal Blade Records

Revival

essentially function as one long breakdown. They are a bit
slower than many of their more contemporary peers (think
most Bridge 9 bands), with a bit more space for straightforward, though well-written guitar licks. What is lost in
breakneck tempos is more than made up for with strong and
heavy-handed intensity. They avoid chugga-chugga repetition and boring tough guy vocals as well, which only adds to
the immediate appeal of Business As Usual.
With nine songs that cover less than 25 minutes, Righteous Jams have to pack a lot into each song to give it staying
power. By and large, they succeed. “Lizards” and “Thought
Vacation,” the blistering opener are standout tracks. There is
obviously a bad content-to-bullshit ration in hardcore today,
and this tends to include some of the so-called classic or
throwback bands. But Righteous Jams manage to combine a
classic approach with the benefits of forward thinking songwriting and clear production in a tight and refreshing way.
Without the immediate, pit-inducing anthems of their debut,
this sophomore record finds a perfect balance between
mid-tempo riffs and dynamic anthems. The result is a strong
follow-up to an outstanding debut, and one of the better
straightforward hardcore records of the year so far.

Envision the gnarly whines of Hank Williams and Tom
Petty layered into a cake of dirty doo-wop, iced with the pop
sweetness of Buddy Holly’s. Dan Sartain is the new king of
“tell it like it is,” and he takes no prisoners with confidence
and strapping authority. With simple and genius musical
structures found in songs like, “I Wanted It So,” “Drama
Queens” and “Gun vs. Knife,” Sartain masterfully constructs
back to basics beats and riffs. These have always been the
bread and butter of truly great rock n’ roll. Actually, the
songs on this record are at the same time entirely similar, but
somehow very different. In the same breath he can take you
from the psychedelic swagger of Strawberry Alarmclock, to
the crooning styles of lounge rockabilly, or the sturdy sounds
of Cash or Orbison.
The guitar and lyric work by Sartain is great, but this
record would not be as great as it is without the percussion
of Rajan Permoley and the others who helped him construct
this masterpiece. According to the bio, this album was
“recorded all over the world,” with appearances by John Reis
(Hot Snakes), Brian Moon, Liam Watson, Gar Wood, Ben
Moore, and this father, Al Sartain. From back porches to
regular studios, the recording of this record is half the joy. Its
warm, hi-fi whirr is surprisingly huge and welcoming. Pick
up this record, then go buy his first record as I did. I hear he
has a crazy live show as well, so I suggest you go to that as
well. [Review : Jason Zabby]

Righteous Jams

Swami Records

Business As Usual

Without conforming completely to the role of hardcore
throwback, Righteous Jams still reek of a bygone era. Many
of their influences come from their native Boston, and
almost all of them are long gone. SSD, Cro Mags and early
Black Flag come to mind pretty quickly, though they use a
bit more patient approach. Their sound comes from a time
when hardcore was all about the breakdown. Instead of falling straight into that mold, Righteous Jams write songs that

Shipwreck

House of Cards (CDEP)
You can take a breath now, your prayers have been
answered. They finally combined the barroom pop of Spoon
with the stadium rock of the Foo Fighters. That’s right
someone took the sound of cigarettes and mixed it with the
sound of corporate rock and call it Shipwreck, or as I cleverly

call it Shitwreck. I’ve had naps that were more exciting than
this. The bass player’s name is listed as Vladimir Brilliant;
seriously, I am not kidding. The opening title track has the
gall to rip-off the only Gary Glitter song you know, I jumped
out of my seat and started cheering for Selanne to hit the
ice. “Atlantic” attempts to cross The Pond and evoke Tom
Yorke, only to end-up sounding like he’s congested, backed
by boring string plucking that couldn’t save this five-minute
number. “Alias” attempts to evoke more Brit Daniels, while
the closer “Black Moon” sounds like bad eighties goth,
influenced by Pink Floyd. But don’t fear this is the first of
four EP’s they plan to release over a year and half because
the world needs more drudgery. I’m not sure what angers me
more, that they from the same town that generated Braid, or
that the asshole who wrote the press release tries to insinuate
that no one knows who Malkmus & Kannberg are. Oh, oh,
can I guess, is it Pavement. Do I win something? I hope it
isn’t another Shipwreck EP. [Review : Sam Sousa]
Self-Released

Shortstack

Smoke Or Fire

Sterling

After a solid, if not unremarkable debut in 2005, these
Richmond transplants (by way of Boston) have returned with
a sophomore release. Since that first record, they’ve toured a
lot and replaced their original drummer with Dave Atchison
(From Ashes Rise). Smoke Or Fire play melodic and anthemic punk rock with catchy, gruff vocals, choppy rhythms and
simple but pleasing guitar riffs. Hot Water Music, or fellow
Richmond residents Avail and Strike Anywhere all make
pretty easy and apt reference points. The band obviously
spent a bit more time on this follow up, because the songs are
no less catchy, but have a bit more staying power. They are
still pretty straightforward, immediately pleasing songs, but
the back and forth between the guitars and the vocal lines is
enough to keep your interest. The opener, “What Separates
Us All,” and “I’ll Be Gone” are obvious highlights, and there
are very few duds. Overall, the ratio of refreshing throwback
to predictable rehash is definitely in Smoke Or Fire’s favor.
This Sinking Ship doesn’t reinvent the wheel, but is well
worthwhile none-the-less.

Sterling has certainly taken their sweet time putting
together a follow-up to their self-titled debut, which came
out in 2003. Drummer Tony Lazzara (who has done time in
both Atombombpocketknife and Milemarker) and guitarist
Eric Chaleff are both original members. They brought in
long-time contributor and touring member Al Burian on
bass (Milemarker, Challenger) and added pianist Andy
Lansangan (90 Day Men). The result is a surprisingly dark
instrumental record. The songs and production are dominated by a ton of low-end, both in the drumming and loud,
metal-influenced bass lines. The guitar and piano parts share
pretty equal time with the overpowering rhythm section.
There are only three songs that make up the record -- the
first two cover more than 13 minutes each, while the closer
is under 10. All three tracks wind along, swaying gracefully
(but never lightly) between a couple very distinct sounds. Often, there is an obvious slow and heavy feel, which reminds
me of the neo-instrumetal of Chicago counterparts like
Russian Circles or maybe Pelican. But, Sterling is a bit more
abstract and considerably less riff-based than either. But
throughout the record (especially in “Acacia”) there is also
a much more psychedelic feel to the songs. This is mostly a
result of the place where the spacey keyboards and drawnout guitar and bass effects meet. These two sets of sounds are
considerably distinct and separate, though Sterling alternate
between them gracefully.
All three songs are constructed in an obviously linear
fashion, utilizing the composition techniques of modern
classical or jazz. They meander along, without ever sounding like a dreaded jam session or back and forth wanking.
Thanks to careful, but unpredictable composition, this works
on a number of levels. The overwhelmingly dark and monolithic production suits the sounds on the record, and is as
dense and initially unwelcoming as it is ultimately rewarding.

This Sinking Ship

Cursed

Fat Wreck Chords

A History of Cut Nails In America
There was this great band with lots of hillbilly hollering
I heard many years ago called 16 Horsepower. Shortstack is
the same sort of deal, only not as impressive. These guys are
obviously good musicians who can work their way around
the reverb-rockabilly thing, but there is just something about
them that does not sit well. They handle the sound, but seem
to have a hard time making it their own. I bet Short Stack are
pretty cool live and judging by their website, they have the
look to match their music.
First impressions aside, I am not saying is a bad record,
just uninteresting. There are some good moments, when they
allow themselves to get lost in wild guitar picking and great
big upright bass marathons underpinned by various jazzy
drum beats. Along these same lines, the song “Wreckin’ Ball”
offers up its own dirty and grimy progression of slide guitar
and swing beats. But as with most of the songs on this album,
it is smothered in a bit too much guitar wankery and drum
brushing. There are very few songs that stand out, rather they
all just seem to become one giant song.
This is a style you really have to enjoy in order to understand. I am not sure if I understand what they want to
achieve, but if it is the dark mountain forest cliché, its just
not happening for me. This is a band you might really enjoy
live, but you probably wouldn’t make the effort to buy the
T-shirt. [Review : Jason Zabby]

If it seems like these guys disappeared after releasing their
debut record a few years ago, you’re right. After Mander
Salis came out on Equal Vision, they toured consistently for
months. But in the spring of 2005, they decided to cancel
their summer tour dates and head home. Since then, they’ve
spent most of the last two years working on Cotton Teeth
and it shows. Even more than on Mander Salis, the songs are
almost absurdly straightforward. They mix direct, melodic
rock and mid-tempo Americana/folk. Most of their songs
lack the twang or gimmick that would make any sort of
alt-country tag stick. In the place of big twists and turns, they
use carefully thought out choruses and layered guitar work.
At times, it’s a bit over the top, though it usually works pretty
well. Songs like “Gypsy Melodies” seem a little trite the first
time I heard them, but really grew on me quickly. Though
there aren’t a ton of new ideas presented here, Cotton Teeth
is a carefully put together and welcoming listen. It’s like a
mixture of mewithoutYOU’s simple energy, but with a much
more patient and legitimate folk feel. I think this may be lost
on most of the kids that tend to buy up a lot of Equal Vision
releases these days, but will likely find plenty of believers.

Six Parts Seven

Sounds Like Violence

Cleveland’s Six Parts Seven have spent the better part of
a decade just beneath the radar of instrumental indie rock’s
upper reaches. While Explosions In The Sky are gently swaying back and forth under the bright lights of Conan O’Brien,
Six Parts Seven are quietly releasing their fifth record. And
while Explosions stuck strictly to their own successful
formula on their most recent and most successful record, Six
Parts Seven were expanding their sound in every direction.
Borrowing equally from early Don Caballero, forward-thinking jazz and more conventional instrumental rock, they
have found an ideal middle ground. The prominent horns
on “Stolen Moments” remind me a bit of Aloha’s early (and
strongest) work. Its construction is careful and its tempo is
slow, but the arrangement and playing are anything but. The
slow, winding dirge of “Knock At My Door” relies more on
layered simplicity. Somehow, they take a quiet, winding collection of guitars and drums and pack it with gentle imagery
and straight up hooks at the same time.
“Confusing Possibilities,” the longest song here at just over
seven minutes is also the most packed. It combines almost all
of the sounds from the surrounding tracks into a slow and
measured, but unpredictable epic. The ideas and presentation
on Casually Smashed To Pieces may be lengthy to list, but they
are packed together into a surprisingly short record. At just
over half an hour, this has to be one of the shortest records in
this genre I’ve ever heard (as well as the shortest the band has
released). Leaving them wanting more is an important rule,
though most similar bands completely ignore it. Without
cutting anything short, Six Parts Seven have put together
their most compact and astutely executed record to date.
They may never land on MTV2, but they can still play circles
around most of the similar instrumental bands that might.

With Blood On My Hands is the debut full length from this
Swedish four-piece. They had previously released an EP that
I remember hearing about but don’t remember hearing. Unfortunately, I found this album pretty boring, with very little
here that is not a cut and paste from contemporary trends
in punk/indie rock. The better moments on With Blood…
can be described as countrymen The Hives with a touch
more sandpaper. There are a few tracks with a strong rhythm
section that remind me a little bit of Rocket From The Crypt
and are okay. By far the best song on this is “Directions”, a
melodic, possibly radio-ready song. It is a little dark like the
rest of the album, but features pleasant song writing that
works well with the vocals. Parts of this song sound not unlike fellow Scandinavians HIM. The low points of the record
aren’t bad musically, just painfully boring. There is a generic
Get Up Kids-style song called “Changes” and some more
somber rock tracks. I think the thing that really makes this
dull to me is the lyrical content. Obviously this dude is really
bummed out about chicks. Maybe it is the challenge of writing/singing in a second language, but the words used here
are elementary and fail to make a lasting impression. This
line from “Heartless Wreck” is probably the low point, “I just
want my heart back, you can send it in a box”. In addition,
the singer’s accent comes across very thick. I don’t think that
is a bad a thing necessarily but it is much more noticeable
than in other Swedish bands. Why do these bands always
sing in English? I can think of German, Spanish, French,
Argentine, and French-Canadian (and plenty of other
nationalities) bands that sing in their native language, but no
Swedish bands that do that come to mind. Food for thought.
These guys are clearly not bad musicians, but they lack the
imagination and ambition to make a record I would want to
listen to more than once. [Review : Andre Medrano]

Gypsy Eyes Records

Casually Smashed To Pieces

Suicide Squeeze Records

The Snake The Cross The Crown
Cotton Teeth

Equal Vision Records

With Blood On My Hands

Deep Elm Records

File 13 Records

Sunn0))) & Boris
Altar

Ahhh, this is nice. This is not a split album, by the way.
Altar is a collaboration between noise masters sunn0)))
and Japanese ass-kickers Boris. This means it’s going to be
very loud, ambient, and fucking brilliant. “Etna” starts us
off with slow, brooding amplifier worship. Three minutes
in, the drums begin to play, the chords sustain, and sonic
bliss is achieved. “N.L.T.” is next, and is the shortest tune
on the disc at just under four minutes. The rest of the songs
are each at least seven minutes long, leaving them plenty of
time to develop. “N.L.T.” acts as a noisy breather before “The
Sinking Belle (Blue Sheep)” comes on. “The Sinking Belle”
is very mellow in comparison, and features vocals by guest
vocalist Jesse Sykes. This is a great tune – mellow, drifting
and hauntingly beautiful. Just after you’ve gotten used to this
beauty, “Akuma No Kuma” comes in, with more amplifier
worship, featuring Joe Preston of High On Fire/Melvins/
Earth/Thrones on vocals. “Fried Eagle Mind” goes into more
ambience and trippy tones.
This is a phenomenal album. Finishing up the album
is “Blood Swamp”, featuring a guest spot by Kim Thayil of
Soundgarden on guitar. “Blood Swamp” is another drone
tune, with some crazy ambience in the background. Oh Lord,
the bass! The blessed blessed bass!!! (Pat likes this album.
You’ll have to excuse him, but he just removed all his clothing and is running around the house scaring the shit out of
the cat.) [Review : Pat Dixon]
Southern Lord Records

These Arms Are Snakes
Easter

Because of their Botch and Kill Sadie roots, some would
say These Arms Are Snakes were destined for greatness. It
might be more appropriate to say they’re among the poor
bastards left with the unenviable task of keeping post-hardcore interesting. But their latest release, the quixotically titled
LP, Easter, shows they’re not doing a bad job.
Like their contemporaries in The Blood Brothers and
Vaux, These Arms Are Snakes are keeping their genre alive
with synths, angular guitars and trippy lyrics. The album’s
first track, “Mescaline Eyes” is a great example, and maybe
the album’s high point. The bass guitar is given a lot of room
to provide the accompaniment to the lines, “This takes us /
to well groomed children / cross-legged groping at braile /
trying to find their / creator’s name.” Single-string guitar melodies come in to match the vocals and provide a wonderful
rising-octave crescendo. On this track, there is exactly the

Trap Them

Sleepwell Deconstructor
Trap Them began as a side project more than four years ago, for Backstabbers Inc. singer Ryan
McKenney and Brian Izzi of December Wolves. As both bands were dissolving, Trap Them went from
side project to full time band. Before recording their debut full length, they added Transistor Transistor
guitarist Nat Coughlan (on bass) and drummer John Heidenrich. The twelve songs here cover less than
22 minutes, though it isn’t due to a lack of content or ideas. Hyper-fast grind drumming sets the tone for
all the songs, which vary from fast to really fucking fast. But they don’t hide behind the speed at which
the songs (and the whole record) fly by.
They manage to add a lot of elements to the songs, especially in the guitar parts, which pull together
a lot of peripheral sub-genres. The guitar tone and varied (though always heavy) riffs remind me of
Breather Resist, with an occasional, but obvious nod to Jesus Lizard or older Dischord bands. “Digital
Dogs with Analog Collars” is a great example of this, and is my favorite track on the record. The riffs
are towering and angular, but still just as fast as much of the record.
Here especially, the choppy rhythms also add intensity and variety to
the record, in a way that’s reminiscent of Jane Doe-era Converge. This
is followed by the slow build-up of “Destructioneer Extraordinaire,”
which is the longest track on the record by far at almost five minutes.
It takes almost three minutes to hit its highest point, which is probably the crowning moment of the record. The song manages to act as
an intermission and the dynamic peak at the same time.
Trap Them have found a graceful middle ground where extreme
grind-core, spastic hardcore and bottom-heavy post-punk meet. How they’ve made a masterful record at such a messy intersection is beyond me, but I’m not
about to question it. Sleepwell Deconstructor is exactly what forward thinking and extreme heavy music should be, but so rarely is.

Trash Art Records

kind of frenetic, urgent sense to the music, lyrics the performance that most people look to experience in this genre.
This natural and inspired-sounding culmination is hardly
present elsewhere on the disc. The album’s single, “Horse
Girl,” bends over vulgarly for the dance-beat direction that
post hardcore has taken in recent years. The crescendo feels
forced and overwritten as singer Steve Snere tries to scream
his way into convincing us of a climax. I believe it like I do
the come-hither look in a stripper’s eyes.
Snere might be half the problem with this record. The guy
uses the same rise-and-fall intonation on almost every line,
without consideration for what the music is doing or what
he’s saying.
The heavy synthesizer presence creates some interesting
ambient moments, but as happens with many bands that
use keyboards, like Old Man Gloom and Isis, they’re less
incorporated into the music than used as a break from it.
The acoustic track, “Perpetual Bris,” offers a more productive
contrast to the loud tracks with lighter synthscapes and an
accordion.
Easter is bookended by its best tracks. “Crazy Woman
Dirty Train” features buoyant guitar work, tom-heavy drums
and a finale fit for a Fourth of July funeral. [Review : Michael
Flatt]

Jade Tree Records

31Knots
The Days and Nights of Everything Everywhere
Over the course of half a dozen releases in roughly as
many years, Portland’s 31Knots have been getting steadily
more popular and steadily less predictable with each new
release. I have always been a big fan of the Knots, though
I have to admit that the first few tracks on The Days and
Nights… had me a bit disappointed. The band has always
mixed stuttering and melodic indie rock with a half-prog/
half-carnival timbre. In fact, their self-applied tag of “postapocalyptic Vaudevillian punk” is actually surprising apt
(and about as succinct as possible). But the opening notes
of “Beauty” make for an awkward start to the record, with
heavy synth lines, cloudy drums and staggering preacher
vocals all stacked in an intriguing, though un-graceful way.
“Sanctify,” the second track is next, and is downright annoying at first. Choppy rhythms from drum lines that seem
reversed, topped by similarly disjointed vocals make for just
over three minutes that are dense (to put it lightly).
Before I could lose all of my faith, “Savage Boutique”
arrives with a more bouncy rhythm, and lighter piano and
horn parts that more than earn the “Vaudvillian” section of
their self-applied label. The track is a welcome response to
the two opening tracks, settling for a deceivingly simple tune
that would pull in any Arcade Fire fan. After an opening
to the record that is schizophrenic (even by 31Knots’ own
standards), things start to really get rolling on “Man Become
Me.” It features the angrily melodic vocals, and winding
guitar lines that typified much of the band’s earlier output
without sounding just like it. It’s followed by the equally
strong standout “The Salted Tongue,” which features a swaying rhythm and vocal line that’s somehow angular and catchy

at the same time. The middle portion of the song features a
cascading breakdown, which really establishes it as one of
their best songs to date.
The remaining six tracks find a nice balance between the
two poles of 31Knots sound that is so abruptly presented
early on. The static-laden “Hit List Shakes…” works like a
more user friendly version of the second track, while the
two short tracks after it seem like a welcome (though late)
intermission. “Pulse Of A Decimal” is a slower, piano-driven
track, which stands out as another candidate for the 31Knots
greatest hits record that may never be released. “Walk With
Caution” closes the record much like it opened – in a way
that will annoy at first and intrigue after a few listens.
To say that this is the most challenging record to date by a
band that’s consistently compared to Yes, is a large statement.
But, for better and worse it’s the case for The Days and Nights
of Everything Everywhere.
Polyvinyl Records

This Was The Year To Lose Friends
& El Paso Hot Button

Titan

A Raining Sun of Light…
Evolving out of years of improvised “stoner rock,” Titan’s
A Raining Sun of Light and Love, For You and You and You
crosses through a few genres, but makes certain not to stray
too far from 70’s progressive rock. An important distinction,
however, is that it is never exactly clear what Titan make of
the pretentiousness and self-importance of that era. One
thing that I do know is that I believe that they believe in the
music they’re presenting to the world. There are subtle tones
to the music that clearly state they know the subtle nuances
to the established sound of psychedelic music the period of
time they are strongly usurping from. Whether to credit this
to the talents of the band or to the live recording technique
of engineer Steve Revitte - of Liars and Beastie Boys fame - is
left up to interpretation. The quartet is made up of drummer
Dave Liebowitz and multi-instrumentalists Josh Anzano
(guitar), Kris D’Agostino (keyboards), and Dan Bates (bass),
and they are here to stay the course of long epic ballads that
remind me of Emerson, Lake and Palmer, fantastic! [Review :
Stirling Myles]

Tee Pee Records

SSSnakes (Split)
This split full length features five songs from each band,
both of which have an interesting take on noisy, experimental music. They both hail from, of all places Norman,
Oklahoma. El Paso Hot Button is a one-man band, with
noisy guitar, modified drums and vocals. The guitar is usually so low and loose sounding, that it could be mistaken for
a bass. His songs combine an eerie, noisy feel with an almost
funky combination of guitar lines and minimal drumming.
The vocals are surprisingly clear and darkly seductive. The
choppy “Karci K Gave Me Chlamydia” was my favorite of his
songs here. It starts off with a strange, choppy and off-kilter
rhythm. He then winds together hissing guitar noise, and
half spoken/half sung vocals that sound like a (even more)
perverted Prince over top of it. The result is off-putting and
catchy at the same time.
This Was The Year To Lose Friends’ approach is much
heavier, though no less strange (especially at first) than El
Paso Hot Button. They successfully combine the heavy-handed moments of intense Northeastern screamo and more riffbased, slower metal. ”Ache & Persistence” is a good example
of the mixture. The drumming starts off sounding almost
grind-influenced, but a step or two slower. Soon after the
introduction, there is a disjointed and messy section that is
much harder to pin down. It seems a bit sloppy at first, but in
the best way possible. There’s something oddly inviting about
the way they combine modern metal’s timbre with snotty
hardcore’s choppy, frantic playing. The result actually doesn’t
sound entirely like either thing. But it’s noisy in just the right
way, and by the second listen I was really intrigued. Both
bands manage to find some elbowroom, between pretty well
established sub-genres. The split as a whole is a solid, though
not immediately satisfying introduction to two ambitious,
noisy bands from somewhere you might not expect.

Little Mafia Records

Village of Dead Roads
Dwelling in Doubt

Many of you may remember the split these guys did
with Spiritu out on Meteorcity a while back. This is pretty
damn good sludge. These Pennsylvanian doom masters do a
fantastic job mixing longer tunes with quick noisy intermediate songs to break up the album. My favorite on this disc
is “Professing to be Wise”, with the slow pummel of the riff
and mixture of clean and dirty vocals. “Blind Albino” picks
up the pace and charges right through. One of the stranger
tunes on the disc, “Hemingway Solution” mixes dissonant
chord progressions with a pounding rhythm that just makes
sense. “Cold New World” ends Dwelling in Doubt with an
eight minute epic. This is another excellent song with the
changes that it brings. Something to note is that Dwelling
in Doubt was recorded live in one take. This keeps the disc
fresh, and produces a hell of an energy emanating from the
speakers. Definitely pick this one up if you’re into the likes of
Godflesh, old Isis, or old Neurosis mixed with a healthy dose
of Yob and Black Sabbath. [Review : Pat Dixon]
Meteorcity Records

Whiskey Sunday / Snuggle
Split Seven Inch

Whisky Sunday kicks off this 7” with some cool action
packed punk rock. I especially dig the gruff vocals and
melodic guitar opening on “Sunday Morning,” reminiscent of
the UK Subs or even the Swinging Utters of yesteryear. This
is a drinking song, but what the fuck should you expect from
a band called Whiskey Sunday? A little hair of the dog never
hurt anyone and the lyrics are just fine. The second song,
“Sometimes You Lose” is also a charmer with a great chorus.
I have heard a lot of good things about this band and I can

see why. This is punk rock with reason.
I feel a bit let down by the other side of the split. Snuggle
provides the listener with two songs that linger somewhere
between Kid Dynamite and every other screamo band you
have ever heard. The first selection “Heavy Hangs the Head”
follows the formula of most basic three-chord punk rock
songs, including a well-placed anthem chorus. However, the
series of blast beats towards the end of the song make me
feel a bit awkward. Although it starts off with an iffy drum
intro, Snuggle quickly redeem themselves with the second
song, “Jolly Roger,” which was a bit more mature and tighter
sounding song than the first. Regardless, I am still interested
enough to hear where they go with their next release. [Review
: Jason Zabby]

Vinehell Records

Yukon
Mortal

Yukon may be from Baltimore, but they often sound more
like they’re from Chicago or San Diego. The songs are mostly
instrumental, with intermittent (though not necessarily rare)
terse, monotone vocals. Their sound is dominated mostly by
winding guitar and bass riffs and halting, choppy drumming.
When at its most intricate, it sounds like a more haphazard
version of Don Caballero. There’s a more heavy, choppy
side to Yukon’s sound as well, which sounds almost like
Lightning Bolt in slow motion at times. The vocals, which
only appear on a few tracks, are interesting and work well in
the sparse way they’re presented. When the vocals do make
an appearance, it gives the songs a strange, almost grunge
sound. The combination of dissonant guitars and monotone
vocals doesn’t always have to scream grunge, though it kind
of does here.
The real meat of Yukon’s sound lies in the interplay between the two guitars and bass. All three contribute equally,
alternating the spotlight and often all trying to share it at

once. This leads to them playing over one another, though
it usually works in a strange way. Without trading off in any
orderly manner, they manage to find space in the chaotic
song structures. This strategy of playing over one another
doesn’t usually work. However, Yukon finds a balance
between winding, discordant guitar riffs and more cohesive
and cooperative riffs. The result is something that takes more
than a peripheral listen (headphones recommended), but is
worth the effort. There are moments that have a melodic feel
to them, which reminds me of many GSL or Gravity bands
in a way. The closing track, “Pedestrian” is the best example
of this. This is another element that’s hard to cram into an
already packed set of sounds, but Yukon pulls it off.
Over the course of eight songs and 35 minutes, Yukon
looks to lull you to sleep, bludgeon you over the head and
confuse you all at once. It’s a tall order, but they’re up to the
task. Their sound is a bit like a Pollack painting or one of
those Magic Eye posters: for best results, staring at it intently
and zoning out at the same time is recommended.
Terra Firma Records

Tulsa Drone

Songs From A Mean Season
At first, Tulsa Drone carefully and aptly join an ever-growing glut of mellow, lush instrumental bands with their second full length.
Thankfully, that is only partly true. They definitely have the slowly played, slow-developing and carefully constructed songs. Winding guitar
lines, intermittent vocals and soaring, slow motion melodies are all over Songs For A Mean Season. Thankfully though (maybe even mercifully), there is considerably more going on here than just that. First and foremost, the songs are based around a bass hammered dulcimer,
which is rarely, if ever used outside the confines of Appalachian bluegrass. Its sound is strange and haunting, and not used as an occasional
accent or an overpowering presence in the songs. It fits well with the songs, never seeming crammed into an already full band. The dulcimer
is also never too far forward, or too far back in the mix. It’s clearly audible over either of the guitars much of the time, though never overpowering either.
Each of the songs uses a linear, mostly instrumental template that focuses heavily on the interplay between the dulcimer, two and sometimes three guitars and bass guitar. Slow, winding swells of two and three of the above instruments at a time and strong, gradual dynamics
command your attention immediately. From the beginning of “Monongahela,” the oddly familiar opening track to the unnerving dirge “The
Plague,” this thing is all over the place. Surprisingly, “The Catch” is both the longest song on the record at over nine minutes, as well as one of
the loudest. A persistent, melodic bass riff lasts almost the whole song. It sets the stage for a revolving cast of similarly dark, but catchy guitar
and dulcimer lines that weave in and out. During the final third of the track, dual trumpets are loudly, but still tastefully added as well. The
stacking of a disproportionate number of instruments is one of the oldest tricks in the book for a band like Tulsa Drone, but they actually
pull it off deftly.
“There Isn’t a Single Star in the Sky” has the
most prominent dulcimer parts of the whole record, working like a slowed down spaghetti western
soundtrack. It’s actually all too short at just over two and a half minutes, but is the perfect response
to “The Catch.” Next are the vocal-heavy title track, “Mean Season” and deafening, almost Mogwai-like wall of sound on “Brace.” They lead perfectly into “Laurel Street,” the final track, which
reminds me a bit of the opener. This is a great way to end the record, imploring the listener to hit
repeat as soon as it winds to a close. I’d be as stupid not to oblige, as you would be not to look into
Songs For A Mean Season. Epic is an understatement.
Perpetual Motion Machine

DVD’s
GSL Presents: Lab Results, Volume One
While most record labels tend to release DVD compilations
prematurely, GSL seems overdue for Lab Results, their first trek into
the medium. It features a nice mix of live footage, music videos and
a few interviews that cover over two hours all together. My favorite
part is the full DeFacto set from 2001, which has five full songs. It
features a really early glimpse of the dub band that would eventually
morph into The Mars Volta. The set is shot really well, from multiple
angles without looking sterile. There are also live videos of The Locust
(in Tokyo, 2001), The Faint, The Starvations and Gogogo Airheart,
among others.
The music video portion of the DVD has contributions from most
of the current GSL roster. 400 Blows have two awesome videos, as do
An Albatross and Sabertooth Tiger. Free Moral Agents, Chromatics, Year Future, Subtitle and Vanishing are also represented, among
others. With more than one video from over half the bands, there is
a lot to choose from. Anyone with even a passing interest in the past
and current lineup on GSL will find at least one or two artists that
they didn’t know before. Combined with the heavy hitters represented
here, and the photo and flier gallery, there is plenty to dig through.
Most compilation DVD’s that are specific to one label operate like
little more than CD samplers used to. But this has much more depth
than the usual collection of 12-15 music videos. There are videos, but
the live footage (especially from DeFacto) make Lab Results a much
more complete document of a diverse and unpredictable label.

Goldstandardlabs.com

The Fest 3
Just as The Fest 5 was taking place in Gainesville this fall, the DVD from
2004’s festivities was finally surfacing. It is almost dauntingly crammed
with live performances from 60 bands, covering three hours total. There are
a lot of standout performances, all captured in a clear and straightforward
way. The sound especially is usually awesome, and was obviously carefully
captured through the soundboard. One of the notable things about this
is the handful of performances from bands that have already changed
considerably since their performances here. Against Me!, Lucero and The
Blood Brothers all contribute songs from what I would say is a much more
relevant era in each band’s history.
There are also strong performances from almost all of No Idea’s past and
current roster, including Hot Water Music who have one of the best performances here with an energetic and costumed (they played on Halloween)
rendition of “A Flight And A Crash.” Planes Mistaken For Stars, Fifth Hour
Hero, Strikeforce Diablo, True North, The Holy Mountain and Deadsure
are also No Idea alums with performances worth checking out. There are
a few stylistically out of place bands, who are also included. Engine Down
play one of the only good songs from their final record, and it sounds way
better live. Toys That Kill, Circle Takes The Square and Mates Of State all
have solid contributions that expand the scope of the DVD considerably.
Live performance DVD’s like this are rarely the kind of thing that most
casual observers would watch more than once. But let’s face it, very few
casual observers would have read this far anyway. It’s hard to imagine actually sitting down and watching all three hours of this thing in one sitting.
But the amount of stuff here only increases the value of this DVD, and the
batting average for the quality of the bands is really high overall. Hopefully
The Fest 4-6 all come out on DVD soon as well.

Noidearecords.com

Cassettes
Indicative of independent music’s constant drive to
find the cheapest, most endearingly outdated methods
for releasing music, a number of cassette labels have
popped up lately. I recently got three cassette releases
from Dead Format, a new cassette-only label from
the same people as Square of Opposition. Square of
Opposition has released a number of smaller, mostly
7” releases, heavily focused on bands from the label’s
native Pennsylvania. They sent three of their new
releases, which cover a wide range of music. They all
come in classic, clear and black cassette cases, with
hand-folded and photocopied covers.
Like most people reading this, some of my favorite
releases when I was first getting into punk rock were
released in this way. I would pick up bands’ demos,
or proper cassette full lengths at shows for $4 or as
much as $5. Often, I’d listen to them once the morning after the show, only to discover that the magic
from the loud, sloppy show the previous night hardly
transferred over to the tape. But almost as often, I
would end up listening to the tape over and over again
in my Walkman. Even after it would get worn out and
hiss so badly I could barely hear the music, I’d end up
listening to it from time to time. Like the scratched up,
warped old split 7”, cassettes represented some of the
first recordings I really couldn’t stop listening to.
The nostalgic value of cassettes is undeniable, but
justifying their existence in a time where CD’s are
rapidly becoming completely obsolete is difficult.
Dead Format takes the route of focusing on releases
that may not ever be released on CD. The batch I got
featured two live releases, and a demo from a fairly
new band.
First is a live cassette from a Lehigh Valley, Pennsylvania band called Carpenter Ant. Side A features a live
radio performance from 2001, while Side B features a
live concert from 2003. The band plays angry and driving hardcore, which leans toward the late 80’s thrash
scene. Their sound, like the other bands represented
on these cassettes, lends itself well to the medium. The
recording quality is pretty solid for a radio appearance,
while their sound is energetic and imprecise (but never
sloppy). The proper live show features a hollow sounding recording, but some more developed songs and
considerably more energy than the radio appearance.
Both sides work in a fittingly nostalgic way, and in a
way it’s hard to imagine them released in any other
manner.

Robert Blake and Erik Petersen share the next
release, each contributing a full live set. Both sets
were recorded in 2001, but have been leveled out and
cleaned up to remove the tape hiss. The concept of
remastering a record that’s destined for release on cassette is a bit ironic, but both sides sound really clear,
so it’s tough to argue with. Both guys play solo folk
music, with a pretty straightforward approach. Blake’s
side is a bit more basic and energetic. A lot of the
upbeat rhythms show off an Irish influence that’s much
more genuine than the Flogging Molly’s of the world.
Petersen’s approach is a bit slower and much more
contemplative. It’s closer to more classic folk music,
with a bit more variety from song to song. With almost
an hour and a half of music between the two sides, it’s
a lot to take in.
Yo Man Go! took a more classic approach to the
cassette release, putting their demo out on Dead
Format. They play energetic and melodic cut time
hardcore in the vein of Lifetime. The slight hiss of the
tape adds something to their sound, making for a set
of songs that are nostalgic and current at the same
time. The singing is really solid, much better than
many of their peers (even on this fairly lo-fi recording). The songs are varied enough to keep things from
getting stale, though they are hardly reinventing the
wheel. This is also the shortest release of the bunch by
far, with just five songs. But, it’s short, sweet and probably my favorite release of the three here.
Considering the live/demo nature of all three of
these releases and the $5 price tag, these are obviously
meant to be extra merch table fodder more than money makers. But it’s hard to argue with the combination
of varied and solid music and heavy nostalgia value
here. If you actually still have a cassette player and are
looking for a trip down memory lane (and some new
music at the same time) this is a good place to start.